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Full text of "The New Movie Magazine (Jul-Dec 1930)"

Book_ _. H^T 



'RESENTED IIY 



Scanned from the collections of 
The Library of Congress 




AUDIO-VISUAL CONSERVATION 
at The LIBRARY of CONGRESS 



Packard Campus 

for Audio Visual Conservation 

www.loc.gov/avconservation 

Motion Picture and Television Reading Room 
www.loc.gov/rr/mopic 

Recorded Sound Reference Center 
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ftv 



AGAZINE- 





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THE UNKNOWN 
CHARLIE CHAPLIN 

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JIM TULLY 



HOLLYWOOD'S YOUPGER SET Ay adela Rogers st. johns 



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'LWGRTH CO 5-10 CENT STORE 



CLARA B O W 



JOAN CRAWFORD 



JOAN BENNETT 



L I LA IE E 






1 



HJS^ 



ANITA PAGE 



JUNE COLLYEI 



ESSIE LOVE 







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3_ JLAT^' 




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The New Movie Magazine 



CAMERA WINKS ROGUISH EYE AT 

DOMINANT DIRECTORS, 
PETULANT PRODUCERS, AGREEABLE YES-MEN! 

SAUCY SLAPS vXTi&CREEN CELEBS! 



WHAT HAPPENSJO BRpA^VAY STARS IN 
^OLttrW©OD1% 




with 

Alice White 

Jack Mulhall 



Come to one of the famous Hollywood film 
premieres you've heard so much about . . . 
Lunch at Montmartre with all the stars . . . 
See "Show Girl in Hollywood" — the finest reel- 
life comedy ever filmed! 

More doings of tempestuous Dixie Dugan (of 
"Show Girl"— remember?) 

With glorious color scenes, irresistible songs 
gnd chorus numbers, and lots of stars! 

Directed by Mervyn Leroy. Color 
scenes by the Technicolor process. 



\\° ■ .veted trademark of fy *#© 

A * v • * *rXm ,. ct €>. 






Lttl 







The New Movie Magazine 

One of the Tower Group of Magazines 
Hugh Weir — Editorial Director 

Features 

Cover Painting of Lila Lee by Penrhyn Stanlaws 
The Unknown Charlie Chaplin . .Jim Tully 24 

An emotional analysis of the famous comedian by the celebrated author. 

The Drama of Lila Lee Evelyn Gray 28 

Miss Lee's absorbing life story is the story of motion pictures. 

Hollywood's Younger Generation Adela Rogers St. Johns 32 

The flaming youth of yesterday compared with that of today. 

The Stars' Own Favorite Stars Grace Kingsley 36 

Even as You and I, the stars have their own idols- 

The Low-Down on Hollywood High Life Herbert Howe 42 

Moviedom's difficulties in adjusting itself to Eastern social customs. 

You Can't Get Away from It Rosalind Shaffer 46 

Children of stage folks always turn to acting. 

The Penalty of Beauty George Chapin 51 

Why Fay Lanphier deliberately gave up the pursuit of beauty. 

Home Town Stories of the Stars Charles W . Moore 52 

How "Pete" Brimmer grew up to be Richard Dix. 

We Have with Us Tonight Homer Croy 56 

Another big Hollywood banquet is given by New Movie. 

Up from Poverty Row , Dick Hyland 66 

The picturesque romance of Dorothy Revier told for the first time. 

The Heart of Greta Garbo Adela Rogers St. Johns 83 

How the Famous Star came to the aid of Gavin Gordon, Kentucky mountain boy. 

Visits to the Famous Studios 88 

The first of a series of picture tours of the great motion picture sttidios. 

Departments 

Gossip of the Studios 19 

What they arc talking about in Hollywood. 

The Hollywood Boulevardier Herb Howe 54 

Screcnland's most popular raconteur tells some new ones. 

Dollar Thoughts 58 

New Movie readers express themselves about things. 

Reviews of the New Films Frederick James Smith 85 

Brief and accurate comments upon the important new photoplays. 

First Aids to Beauty Ann Boyd 102 

Advice and rules for charm and attractiveness. v 

Frederick James Smith — 'Managing Editor 

Dick Hyland — Western Editorial Representative 

Published monthly by Tower Magazines, Incorporated. Office of publication at 184-10 Jamaica Ave., Jamaica, N. Y. Executive 
and editorial offices: 55 Fifth Avenue, New York, N. Y. Home office: 22 North Franklin Street, Wilkes-Barre, Pa. Hugh Weir, 
Editorial Director; Catherine McNelis, President; Theodore Alexander, Treasurer; Marie L. Featherstone, Secretary. Vol. 2. Numb er 1, 
July, 1930, printed in the U. S. A. Price in the United States $1.20 a year, 10c a copy. Price in Canada $1.80 a year, 15c a copy. 
Copyright, 1930 (trademark registered), by Tower Magazines, Incorporated, in the United States and Canada. Entered at the 
Post Office at Jamaica, N. Y., as second-class matter under the Act of March 3, 1879. Nothing that appears in THE NEW MOVIE 
MAGAZINE may be reprinted, either wholly or in part, without per mission. The publisher accepts no responsibility for return of 
unsolicited manuscripts. 

Applicant for Membership in the Audit Bureau of Circulations 



The New Movie Magazine 




Something to it — There's 
something to a dentifrice 
that wine leadership in 4 




years. 




LISTERINE TOOTH 




PASTE, 25e. 





Not one out of ten escapes this social fault 



Can you be sure that you never have halitosis (un- 
pleasant breath)? Are you certain at this very mo- 
ment, that you are free of it? 

The insidious thing about this unforgivable social 
fault is that you, yourself, never know when you 
have it; the victim simply cannot detect it. 

Remember, also, that anyone is likely to be troubled, 
since conditions capable of causing halitosis arise 
frequently in even normal mouths. 

Fermenting food particles, defective or decaying 
teeth, pyorrhea, catarrh, and 
slight infections in the mouth, 
nose, and throat — all produce 
odors. You can get rid of these 
odors instantly by gargling and 
rinsing the mouth with full 
strength Listerine. Every morn- 



ing. Every night. And between times before meeting 
others. Listerine halts fermentation because it is an 
antiseptic. It checks infection because it is a remark- 
able germicide.* And it quickly overcomes odors be- 
cause it is a rapid and powerful deodorant. 

Keep a bottle of Listerine handy in home and office 
and use it always before meeting others. Then you 
will know that your breath cannot offend. Lambert 
Pharmacal Company, St. Louis, Mo., U. S. A. 



LISTERINE 
ends halitosis 



*Though safe to use in any body 
cavity, full strength Listerine kills 
even the Staphylococcus Aureus (pus) 
and Bacillus Typhosus (typhoid) 
germs in counts ranging to 200,000,- 
000 in 15 seconds (fastest time ac- 
curately recorded by science). 



10 c size on sale at all Woolworth stores 



MUSIC of the Sound Screen 



The New Movie's Service Department, Reviewing the 
Newest Phonograph Records of Film Musical Hits 



NOW that Amos 'n' 
Andy can be looked 
upon as screen folk, 
since they have 
been signed by RKO for 
special productions, their 
first record comes within 
the scope of this depart- 
ment. The record comes 
from Victor. 

On one side is "I'se Re- 
gusted," which depicts the 
tribulations of Andy in a 
shoe store when he disre- 
gards the advice of Amos. 
The other presents "Check 
and Double Check," and shows how Andy instructs 
Amos in gymnasium exercises. The climax comes 
when Amos declines to co-operate further in unlaxing 
and holding his breath. Messrs. Correll and Gosden 
(the real Amos 'n' Andy) are excellent in both Victor 
skits. 

THE popular John Boles is represented by two attrac- 
tive Victor records this month. On one he sings 
his two numbers from "The King of Jazz" : "It Hap- 
pened in Monterey" and "The Song of the Dawn." The 
Mable Wayne waltz, "It Happened in Monterey," is one 
of the music hits of the year, by the way, and Mr. 
Boles sings it delight- 
fully. The other John .- k ^ . -.,.^. ^ - ,v ,,-- 
Boles record offers two 
of his numbers from ¥■, 
"Captain of the 
Guard": "For You" 1 
and "You, You All 
Alone." 

Maurice Chevalier is 
present with another 
swell Victor record. 
You will love his rendi- 
tion of "All I Want Is 
Just One," which is 
one of the outstanding 
numbers of "Para- 
mount on Parade." The 
reverse side of this 
record carries his sing- 
ing of "Sweepin' the 
Clouds Away," which 
is another of his "Par- 
amount on Parade" 
hits. 

COLUMBIA presents 
a new Buddy Rog- 
ers record. Turn to 
Herb Howe's comments 
on page 54 and you will 
learn more about Bud- 
dy's phonograph activ- 
ities. This new Co- 
1 u m b i a record offers 
two of his best songs 
of "Safety in Num- 
bers" : "I'd Like to Be 
a Bee in Your Bou- 
doir" and "My Future 



RECOMMENDED RECORDS 


"All 1 Want Is Just One" 




Maurice Cheva 


lier (Victor) 


"It Happened in Monterey" 




John Boles (Victor) 


"A Bee in Your Boudoir" 




Buddy Rogers 


(Columbia) 


"I'se Regusted" 




Amos 'n' Ai 


idy (Victor) 




Just Passed." Buddy does 
both of these numbers ex- 
cellently. You will want 
this record, particularly if 
you are a Rogers fan. 

One of the best Victor 
records of the month of- 
fers Victor Arden, Phil 
Ohman and their orchestra 
in two attractive fox-trot 
numbers from "The Cuck- 
oos" : "Dancing the Devil 
Away" and "I Love You So 
Much." We recommend 
"Dancing the Devil Away" 
as a corking record number. 
With Johnny Morris singing the vocal refrain, Paul 
Specht and his orchestra offer fine fox-trot renditions of 
two "In Gay Madrid" numbers: "Into My Heart" and 
"Santiago." This is a Columbia record. You will hear 
more of "Into My Heart" in the coming months. It's 
a hit. 

npHE "KING OF JAZZ" is getting a big play from 
-*■ the record makers. For Columbia, Paul Whiteman 
has made three "King of Jazz" records. The trio offer 
these song combinations: "The Song of the Dawn" and 
"It happened in Monterey," "Happy Feet" and "I 
Bench in the Park," and "Ragamuffin Romeo" and "I 

Like to Do Things For 
jmmmmB^^^M^^^^m^^^m You." Another attrac- 

1|| tive Whiteman record 
offers two songs of 
1 "The Big Pond" : "You 
Brought a New Kind 
of Love" and "Livin' in 
the Sunlight, Lovin' in 
the Moonlight." 

For Columbia, Grace 
Hayes sings two "King 
of Jazz" numbers: "I 
Like to Do Things For 
You" and "My Lover." 
For Victor, George 01- 
sen and his orchestra 
play "The Song of the 
Dawn" and "It Hap- 
pened in Monterey." 
This, by the way, is a 
fine dance record. 

C PEAKING of the 
^ Olsen orchestra re- 
minds us that this 
band has made good 
dance records of "High 
Society Blues," 
"Honey" and "Montana 
Moon." 



John Boles, who stars in 
"Captain of the Guard," 
is represented by two 
excellent Victor records 
this month. The best of- 
fers his song hit "it Hap- 
pened in Monterey." 



The New Movie Magazine 



YOUR LINENS ARE 

ALWAYS SO BRIGHT 

AND NEW-LOOKING, 

MRS. BORDEN 




THAT'S BECAUSE 

I USE RINSO. IT 

WASHES CLOTHES 

WHITER, WITHOUT 

SCRUBBING 




\s- 



£!_* 




I MUST TRY RINSO 
... I'VE HEARD SO 
MUCH ABOUT IT 



IT'S A VERY 
ECONOMICAL 

SOAP AND 

ABSOLUTELY 

SAFE 





m. 









1 ■ * 



ONE WEEK LATER 




YOU'LL FIND THEY 

LAST LONGER, TOO.. 

FOR THEY AREN'T 

SCRUBBED 

THREADBARE 



these women 

"You oughyo^ ^ gt Loms woma n 
comes out ; Robert Ave. h clothes, 

'^nloTl^an Diego, Cal. 

U „«** ****** ^ 

y « wwr «*f »** GO bar soaps, 

„ , need for tub or washer wice 

RinS ° " ^aS soTeaers. Cup for cup, «J ven , w 
chips, powder » g ^ P u f e ^ n a £***■ 

? rf;;^beca S use it's F^^ading washers 
&*<ferf «^< r u , hc makers of 3» * at for 



The makers of v5 O leading washers 
recommend Rinso 



for whiter washes 
in tub or machine 




SIZES 



most women buy 
rhe large package 



for dishes, floors 
and all cleaning 




Janet Gaynor and Charlie Farrell are co-starred again in 
Society Blues." Here they are in a fanciful flash-back 
days of chivalry. 



Group A 



Sarah and Son. Ruth Chatterton in another "Mad- 
ame X" of mother love. This will surely get your tears 
and hold your interest. Paramount. 

Song- O' My Heart. John McCormack makes his screen 
debut in this charming drama, in which his glorious 
lyric tenor is superbly recorded. He does eleven songs. 
The story is expertly contrived to fit the world-popular 
Mr. McCormack. Fox. 

The Vagabond King. Based on "If I Were King," this 
is a picturesque musical set telling of Francois Villon's 
career in the days of Louis XL Dennis King and 
Jeanette MacDonald sing the principal roles, but O. P. 
Heggie steals the film as Louis XL Paramount. 

Street of Chance. The best melodrama of the year. 
The story of Natural Davis, kingpin of the underworld 
and Broadway's greatest gambler. Corking perform- 
ance by William Powell, ably aided by Kay Francis and 
Regis Toomey. Paramount. 

The Rogue Song. A great big hit for Lawrence Tib- 
bett, character baritone of the Metropolitan Opera 
House. The tragic romance of a dashing brigand of 
the Caucasus, told principally in song. Based on a 
Lehar operetta. Metro-Goldiuyn. 

The Green Goddess. Another fine performance by 
George Arliss, this time as the suave and sinister Rajah 
of Rokh, who presides over a tiny empire in the lofty 



Brief Comments Upon 

the Leading Motion 

Pictures of the Last 

Six Months 



Himalayas. You'll like this. Warners. 
Anna Christie. This is the unveiling of 
Greta Garbo's voice. 'Nough said. It's 
great. We mean Greta's voice. Be sure 
to hear it. Metro-Goldwyn. 

Devil May Care. A musical romance of 
Napoleonic days, with Ramon Novarro at 
his best in a delightful light comedy per- 
formance. Novarro sings charmingly. 
This is well worth seeing. Metro-Goldwyn. 
Lummox. Herbert Brenon's superb vis- 
ualization of Fannie Hurst's novel. The 
character study of a kitchen drudge with 
Winifred Westover giving a remarkable 
characterization of the drab and stolid 
heroine. A little heavy but well done. 
United Artists. 

The Love Parade. The best musical film 
of the year. Maurice Chevalier at his 
best, given charming aid by Jeanette Mac- 
Donald. The fanciful romance of a young 
queen and a young (and naughty) dip- 
lomat in her service. Piquant and com- 
pletely captivating. Paramount. 

The Show of Shows. The biggest revue 
of them all — to date. Seventy-seven stars 
and an army of feature players. John 
Barrymore is prominently present and the 
song hit is "Singin' in the Bathtub." 
Crowded with features. Warners. 

Welcome Danger. Harold Lloyd's first 
talkie — and a wow ! You must see Harold 
pursue the sinister power of Chinatown 
through the mysterious cellars of the 
Oriental quarter of 'Frisco. Full of 
laughs. Paramount. 

They Had to See Paris. A swell comedy 
of an honest Oklahoma resident dragged 
to Paris for culture and background. Will 
Rogers gives a hilarious performance and 
Fifi Dorsay is delightful as a little 
Pariesienne vamp. Fox. 

The Trespasser. A complete emotional panorama with 
songs, in which Gloria Swanson makes a great comeback. 
You must hear her sing. Gloria in a dressed-up part 
— and giving a fine performance. United Artists. 

Sunny Side Up. Little Janet Gaynor sings and dances. 
So does Charlie Farrell. The story of a little tenement 
Cinderella who wins a society youth. You must see 
the Southampton charity show. It's a wow and no mis- 
take ! Fox. 

The Lady Lies. In which a lonely widower is forced 
to choose between his two children and his mistress. 
Daring and sophisticated. Beautifully acted by Claud- 
ette Colbert as the charmer and by Walter Huston as 
the widower. Paramount. 

Hallelujah. King Vidor's splendid and sympathetic 
presentation of a negro story. Dialogue and musical 
background of negro spirituals. With an all-colored 
cast. Metro-Goldwyn-Mayer. 



"High 
to the 



Group B 



Sweethearts and Wives. A swell mystery yarn with 
nearly a perfect cast. Murder and a beautiful girl 
(otherwise Billie Dove) in lovely distress. A corking 
performance by Clive Brook. First National. 

High Society Blues. A sequel to "Sunny Side Up," 
with Janet Gaynor and Charles Farrell co-starred in 



GUIDE to the BEST FILMS 



songs and dances. Pleas- 
ant entertainment. Fox. 

Honey. Nancy Carroll 
in a pleasant little senti- 
mental comedy with 
songs. Lillian Roth, 
Harry Green and little 
Mitzi Green lend a lot of 
help. Paramount. 

Puttin' on the Ritz. In- 
troduces the night-club 
idol, Harry Richman, 
to moviedom. The ro- 
mance of a song plugger. 
Mr. Richman gets swell 
support from Joan Ben- 
nett, Lilyan Tashman 
and James Gleason. 
United Artists. 

Men Without Women. 
The action takes place in 
a submarine trapped on 
the floor of the China 
Sea. The harrowing re- 
actions of the crew face 
to face with death. Grim 
and startling — and full 
of suspense. Fox. 

Seven Days' Leave. The 
tender and moving story 
of a London charwoman 
in the maelstrom of the 
World War. Beautifully 
acted by Beryl Mercer 




George Arliss gives a splendid performance in the new talkie version of "The Green 
Goddess", and he gets excellent aid from Alice Joyce. 



as the scrub-woman and by Gary Cooper as the soldier 
she adopts. Paramount. 

Son of the Gods. Notable for another fine Richard 
Barthelmess performance. The yarn of a young Oriental 
who collides with racial prejudices. Superb perform- 




ance by Constance Bennett as the girl he loves. First 

National. 

This Thing Called Love. A racy and daring study of 

marriage and divorce with Constance Bennett and 

Edmund Lowe giving brilliant performances. Pathe. 

The Marriage Play- 
ground. Another study in 
divorce, based on Edith 
Wharton's "The Chil- 
dren." Sympathetic 
story and beautiful act- 
ing by Mary Brian. 
Paramount. 

Half Way to Heaven. 
Buddy Rogers as a kid 
aerialist in love with a 
pretty trapeze perform- 
er, Jean Arthur. Buddy 
was never better. Pleas- 
ant entertainment. Par- 
amount. 

The Vagabond Lover. 
Rudy Vallee, the idol of 
the radio, makes his 
screen debut as a young 
bandmaster trying to 
get along. He does well, 
but Marie Dressier runs 
away with the picture. 
You will find this en- 
tertaining. Radio 
Pictures. 



Maurice Chevalier lifts 
"Paramount on Parade' 
from mere mediocrity to 
flashing moments. Here 
he is as a French gendarme 
in his song, "All I Want is 
One Girl." 




Photograph by Preston Duncan 



EDMUND LOWE 



12 




LEILA HYAMS 




Photograph by Hurrell 



CONRAD NAGEL 



14 




JOAN CRAWFORD 




LON CHANEY 



16 




RUTH CHATTERTON 



Photograph by Hurrell 

17 




"Photograph by Russell Ball 



GLORIA SWANSON 



18 



The New Movie Magazine 




Gossip of the Studios 



D 




Gary Cooper: "My darling 
little Gary, I lofe you," says 
Lupe Velez. The Velez-Cooper 
romance continues to simmer. 



OUGLAS FAIRBANKS has gone to England 
with Leo Diegel and George von Elm to see the 
international golf matches. Mary Pickford re- 
mains at home in Hollywood, to start work on 
her new talking picture, 
"Secrets." 

As this is the first time 
since their marriage ten 
years ago that Doug and 
Mary have been separated 
for any length of time, 
rumors of trouble in the 
Fairbanks household be- 
gan to fly as soon as Doug 
had actually departed. 

Both Mary and Doug 
have treated any such 
idea with silent contempt. 
The fact is, probably, that 
these two famous stars 
have decided to compro- 
mise certain tastes and 
plans for the future. Mary 
is wrapped up in her 
picture work. She is not only making a picture of her 
own, but anyone who knows anything about it will tell 
you that Mary Pickford is the chief factor in all of 
United Artists plans and that she keeps a close eye on 
both business and production. 

Douglas, on the other hand, has lost a lot of his en- 
thusiasm about making pic- 
tures. He wants to travel 
and do many other things. 
Mary has never cared great- 
ly for a roving life and 
sporting events don't hold 
the thrill for her that they 
do for her athletic husband. 
In consecpience, this first 
trip of Doug's without his 
wife simply indicates that 
while there is no rift in the 
domestic happiness, they in- 
tend in the future to fulfill 
their own desires. There 
isn't anything very unusual 
about that. Plenty of wives 
don't trail around after 
their husbands when they at- 
tend polo tournaments and 
golf matches, and with much 
less reason for staying home 
than Mary Pickford has. 
And many men with as 
much money and as definite 
a success behind them as 
Douglas Fairbanks choose to 
devote more time to play and 
less to business. 



AiM>!«XANi? 



So there you are. Seems fairly normal. We doubt 
greatly that anything further will come of it. 



Did you know that Lon 
Chaney used to sing in 
Gilbert and Sullivan 
operas f And that his 
voice will be heard in four 
parts in his coming pic- 
ture — his first talkie f 
You will hear him as an 
old woman, a ventrilo- 
quist, the ventriloquist's 
dummy, and a parrot. 



pOLLEEN MOORE has 
filed suit for divorce 
against her husband, John 
McCormick. 

John has sailed for 
Honolulu and Colleen is living alone in the beautiful 
home she recently built in Bel-Air. Her mother and 
one of her closest friends, Julanne Johnson, are vis- 
iting her there. 

This divorce is the end of a romance that began when 
Colleen was a little known actress and John McCor- 
mick was a press agent. 
Their careers Avere built to- 
gether, until Colleen became 
the biggest box-office attrae- 




Dolores Del Rio: Wants good 
pictures rather than good stel- 
lar close-ups. She let Eddie 
Lowe steal her last film. 





the feminine 
and John was 
First National- 



tion among 
screen stars 
head of the 
studios. 

Everyone who knows them 
feels a deep regret over their 
parting. Colleen intends to 
go to Europe for some 
months, unless a highly satis- 
factory picture contract now 
in the offing is signed. 

Personally, we hope Col- 
leen won't follow her own 
desire and retire from the 
screen to travel and study 
sculpture. We would miss 
her bright comedy sadly. So 
far, no one has appeared to 
take her place. 



HP PIE toughest assignment 

of the screen year, in the 

opinion of most Hollywood 



19 



All the News of the Famous Motion Picture 




experts, has been handed 
to Joan Bennett, who is to 
do "Smilin' Thru" for 
United Artists. To follow 
Norma Talmadge in her 
greatest picture and her 
finest performance, while 
the movie audiences still 
remember, is a big order 
for so young an actress as 
Joan Bennett. If she suc- 
ceeds, it Avill be a real 
feather in her cap. 



Joan Bennett: Has the toughest 

assignment of the year in 

"Smilin' Thru" 



Florenz Ziegfeld of Fol- 
lies fame is in Hollywood 
working on the United Artists lot. He says the 1930 
girl should be a brunette, no taller than five feet, six 
inches, and weigh about 125 pounds. That she should 
be "more generously proportioned." That the boyish 
figure has gone out of style completely. 



y IEGFELD says that a good nose is the most im- 
^ portant feature a girl can have. Also he says that 
most girls are knock-kneed. 



A STRANGE thing took place at the Hollywood open- 
ing of "All Quiet on the Western Front." For 
the first time in anyone's memory many of the audience 
didn't return for the second half of the picture. Women 
found the horrors of this epic of war-torn battlefields 
too much for them. One long drawn out death scene after 
another, accompanied now by sounds of moans and 
shrieks, the long scene in a shell hole with a corpse, the 
battle in a graveyard, the fight in the dugout with 
enormous rats, the amputation of legs and the killing 
off of every important character in the story, proved 
a dish too strong for some. 

If there is anyone not yet convinced that war is a 
horrible affair, filled with suffering and anguish, they 
should certainly see "All Quiet on the Western Front." 
Otherwise, unless you are 
seeking death and disas- 
ter in all its details, you 
won't enjoy this picture. 



Rudolph Valentino left 
approximately $800,000 
against which are $551,- 
346.55 worth of allow- 
able claims. 



A/T ANY social activi- 
■*■ ties of the month 

centered around the en- 
gagement and wedding 
of Irene Mayer, daugh- 
ter of Louis B. Mayer, 
to David Selznick. In 

20 



fact now that the Mayer girls are both married, society 
will seem very quiet for a while. 

The wedding itself was a simple one, in the home of 
the bride's parents, with only a very few intimate 
friends and the immediate family present. 

The bride wore a simple frock of white satin, with 
long sleeves, made beautiful by a wonderful bridal 
veil of duchess and rose point lace which swept the 
floor for several feet. Her bouquet was of white orchids 
and lilies of the valley. 

The matron of honor was the bride's sister, Edith 
Mayer Goetz, who wore a gown of pale green organdie, 
in bouffant style, and carried pale yellow roses. The 
other bridal attendants were Janet Gaynor, Marjorie 
Daw Selznick and Marjorie Strauss. Their costumes 
were of pale yellow organdie, and they carried show- 
ers of yellow iris. 

The most elaborate entertainment given in Miss May- 
er's honor was a dinner dance at the fashionable Bev- 
erly- Wilshire, at which Mr. and Mrs. B. P. Schulberg 
were hosts. The ballroom was a veritable bower of 
spring flowers. The guest of honor, Miss Mayer, 
wore a gown of coral satin, with a softly trailing skirt. 
Mrs. Schulberg was in white and wore emeralds. 

Among the guests were Mr. and Mrs. Walter Morosco 
(Corinne Griffith), Mr. and Mrs. Antonio Moreno, Mr. 
and Mrs. Maurice Chevalier, Mr. and Mrs. Ralph 
Forbes (Ruth Chatterton), Mr. and Mrs. Lydell Peck 
(Janet Gaynor), Mr. and Mrs. Harry Edwards (Evelyn 
Brent), Clara Bow, Nancy Carroll, Lillian Roth, Col- 
leen Moore, Buddy Rogers, Elsie Janis, Mr. and Mrs. 
George Fitzmaurice, Claudette' Colbert, Jeanette Mac- 
Donald and Hedda Hopper. 



John McCormack, the opera singer who went to 
Hollywood for Fox, says that he is through with the 
opera. Reason: "I cannot sincerely make love to a 
prima donna twenty-five years my senior and 280 
pounds in weight, which I must do on the operatic 
stage." 



R 




OGER DAVIS, the well-known polo player and 
man-abqut-town, has finally been talked into ap- 
pearing before the camera. Always bashful and shy, 

Roger, although one of 
the wits of London, Par- 
is, New York and Holly- 
wood, would never con- 
sent to becoming what he 
called a "professional 
actor." But he suc- 
cumbed to the charms of 
Beatrice Lillie and will 
be seen and heard in her 
next picture. 

"The polo set at Del 
Monte will miss me," 
said Roger after signing 
the contract, "but I have 
agreed to leave my string 
of ponies for them to 
play with, so I'm sure it 
will be all right. I think 
that half the time all 
they want me around for 
is my ponies." 



Stars and Their Hollywood Activities 



Harold Lloyd's next picture, titled "Feet First," is 
all about a shoe clerk. Part of the picture will be shot 
on board a trans-Pacific liner and part of it in Hono- 
lulu. Harold has just ordered ONE GROSS of the 
specs which have become his trademark, which spikes 
the rumor that he woidd play his next picture straight 
— without the funny rims. 



A FRIEND of Norma Talmadge had a fish pond. In 
i -*- it he had a turtle. The turtle went blind and could 
no longer feed himself. As the friend was a bachelor 
and away from home most of the time, he was going to 
make soup out of the turtle rather than let him starve 
to death. Norma heard about it. She asked if he would 
not give the blind turtle to her instead of killing it. He 
did. And now, daily, Norma either feeds that blind 
turtle by hand herself, or makes sure that her maid 
does, if she is working at the studio. 



Helen Ferguson received more than $250,000 from 
the estate of her husband, William Russell, who died 
last year. It has just been settled. 



ANNA Q. NILSSON is still in the hospital. But 
*~*- everything is coming along nicely and she expects 
to be back in her Beverly Hills home in June. Already 
she has had a number of picture offers and the doctors 
say that by Autumn she will be back before the camera. 




Don Alvarado, who is 
Dolores Del Rio's most in- 
timate friend. A num- 
ber of picture producers, 
including Sam Goldwyn 
and Joe Schenck, have 
been trying to persuade 
Mrs. Alvarado to go into 
pictures. But to date she 
claims she is too busy 
with her husband and 
her small daughter. She 
has bronze hair, enormous 
green eyes, and an olive 

skin. 

* * * Vilma Banky: Retiring from 

XTILS ASTER is back pictures, says she is all through 
i>J from a vaudeville with P ubl,c l,fe - 

tour, living in his house 

at Malibu Beach. Now that the talkies are making 
pictures in various languages, Nils will probably find 
himself working before the camera again. 



tplLEEN PERCY, the pretty blonde who used to be 
*-* Doug Fairbanks' leading lady, has left her hus- 
band, Ulrich Busch, one of the heirs to the Busch mil- 
lions. She is going to make some pictures for Columbia. 



Warner Brothers will spend an even TWENTY 
MILLION dollars making pictures this coming year. 



A PTER one long separation and a reconciliation, Bet- 
^*- ty Compson and Jimmy Cruze are once more liv- 
ing apart and Betty has filed a divorce complaint. That 
divorce complaint has been in existence for months and 
months, and at various times Betty has threatened to 
put it on record. Now she has taken the step. 

Still, no one would be very much surprised if they 
went back to each other again. Betty and Jim still love 
each other, and these temperamental clashes can never 
definitely be taken as final. 



The moon got between the sun and the earth on April 
28th and all California took a peek at the resulting 
eclipse that morning. 
A certain producer's 



secretary walked into 
his office just before it 
was to start and said, 
"Are you going to see 
the eclipse ?" 

" 'The Eclipse,' " he 
said, "never heard of 
it. Who is in it? 
When does it open?" 



QNE of the most 
^*^ beautiful women 
in Hollywood is Mrs. 




A ND First National is going to spend $17,500,000 this 
"^ year. Which does not include 250,000 berries for 
a music hall where all the songwriters can play at the 
same time and only drive each other crazy, or crazier. 



A/fRS. BASIL RATHBONE (Ouida Begere) is rap- 
^■* idly becoming one of Hollywood's most promi- 
nent hostesses. A week never goes by without the 
Rathbone home being the scene of at least two elaborate 
parties. Ouida's enormous vitality, which used to be 
expended in writing scenarios, running booking agencies 
and doing interior decorating, has to find an outlet 
somewhere and society in Beverly Hills seems to have 

been elected. The 
Rathbones have taken 
a new home on Cres- 
cent Drive — they 
moved out of Marie 
Prevost's charming 
residence on Cano 
Drive a short time 
ago — and the new 
home lends itself 
beautifully to large 
parties. 

Celebrating their 
wedding anniversary, 
Mrs. Rathbone enter- 
tained with a buffet 
supper the other 
night. Among the 



3310V 
M 11X103 




MUIHOU.MD 



21 



The Who's Who of Hollywood-— what the 




Clara Bow: Needs good stories 

and is suggested for "The 

Morals of Marcus" 



guests were Mr. and Mrs. 
Lionel Barrymore, Mr. 
and Mrs. Clive Brook, Mr. 
and Mrs. Edmund Lowe 
(Lily an Tashman), Mr. 
and Mrs. Conrad Nagel, 
Mr. and Mrs. John Crom- 
well (Kay Johnson), Mr. 
and Mrs. Louis Bromfield, 
Mr. and Mrs. Rod La 
Rocque (Vilma Banky), 
Beatrice Lillie, Lois Wil- 
son, Virginia Valli, Ai- 
leen Pringle, Gloria Swan- 
son, Elsie Ferguson, El- 
sie Janis, Charlie Chap- 
lin, John Loder, Ivan 
Lebedeff and Jack Gil- 
bert. 
A formal dinner was given by Mr. and Mrs. Rath- 
bone in honor of Mr. and Mrs. Louis Bromfield. The 
guests on that occasion included Mr. and Mrs. William 
G. McAdoo, Mr. and Mrs. John Gilbert, Mary Lewis, 
Kay Francis, Catherine Dale Owen, Jetta Goudal, Ken- 
neth McKenna, Paul Bern and. Gilbert Emery. 



DOLLY MORAN was telling Bill Haines about a man 
*■ who insisted that his wife always wear white in the 
boudoir. 

"That's a fetish," said Bill. 
"It is not," said Polly, "it's the truth." 
By the way, Bill and Polly played together in a re- 
cent picture directed by Fred Niblo. Bill and Polly 
are the prize practical jokers and wise crackers of the 
industry and Mr. Niblo is an extremely dignified gen- 
tleman, whose wife is one of Beverly Hills' social dic- 
tators. A good time was had by Bill and Polly, but 
Mr. Niblo is still to be heard from. 



r^OLORES DEL RIO is an extremely intelligent 
*-^ woman. In her first talkie, "The Bad One," she 
allowed Eddie Lowe to walk off with at least equal hon- 
ors, some might 
think first honors. 
"All I wanted 
was a good pic- 
ture," she said. "I 
have it and am 
satisfied. I knew 
from the beginning 
that Mr. Lowe's 
part was as big or 
bigger than mine. 
But I did not care. 
He is a great actor 
and it was a privi- 
lege to work with 
him. I hope the 
audiences will just 
remember that if 
they see my name 
on another picture, 
I am trying to give 
them something 
they will like, not 

22 




just close-ups of me." Miss Del Rio is a farsighted star. 



The cottage in Toronto, Ontario, Canada, where Mary 
Pickford ivas born, is going to be torn down and sight- 
seers who have driven by the house the last ten years 
will see instead a great big police administration 
building. 



f\STEtR at Paramount there is the usual uproar about 
^-^ stories for Clara Bow. It seems amazing that pro- 
ducers can be so short-sighted, and a shame for Clara's 
great career that Ben Schulberg hasn't time now to 
give her the direct supervision which made her our 
greatest star. Paramount's vision on Bow seems about 
as wide as a flapper's eyebrow. 

The studio owns a story which would be a sensation 
for Bow. It is William J. Locke's "The Morals of 
Marcus." Can't you see Clara as the little girl brought 
up in a Turkish harem, doing all sorts of shocking 
things in a well-ordered English home, and finally 
coming to know life and love? 

Clara Bow is a fine actress. She can do anything, if 
they'll only give her a chance. It's too bad that her 
career should be ruined because they can't find enough 
stories making her the sweetheart of the navy, the army 
or the marines. 



T AWRENCE STALLINGS, author of "What Price 
-^ Glory," "The Cock-Eyed World" and "The Big 
Parade," has been spending a few spare minutes knock- 
ing off a lyric for Tibbett. 



*"pHE casting of Edna Ferber's novel, "Cimmaron," 
■*■ occupies many a Hollywood dinner party these days. 
RKO owns the story and it is to be done by Richard 
Dix. There is talk of Lila Lee for Sabra, the wife, a 
terribly difficult role, and one which Lila would do to 

perfection. 

« * * 

Charles Spencer 
Chaplin, our 
"Charlie" who will 
live in the minds 
o f m e n forever, 
was born on April 
16. The stars say 
to those born that 
day : They have de- 
termination and 
tenacity. They are 
creative, enthusias- 
tic and courageous. 
Their magnetic per- 
sonalities, kindness 
and loyalty bring 
them many friends. 



FRANCES MAR- 

ION, the best 

scenario writer in 



film famous are doing in the Movie Capita 



Hollywood in the opinion of many, is going to China on 
a three months' vacation. 



The average income of the more fortunate of the ex- 
tras in Hollywood is less than $700 a year. Yet, there 
are 17,000 extras registered in the Central Casting 
Bureau. 



UPE KUBIN has arrived in Hollywood. That may 
not mean much to Hollywood, but Lupe Rubin is 
one of the most famous writers in all Mexico and — not 
to be sneezed at even in Hollywood — she is a multi-mil- 
lionairess, even if you count her Mexican dollars as 
dimes. Her aunt, the late Duchess of Meir, left a $7,- 
000,000 chunk of this world's goods in trust for charity. 
Lupe superintends the expenditure of this. She has 
five children. 



York to consult with the- 
atrical managers about 
some plays and then re- 
turned to Jack's Beverly 
Hills house. Wouldn't 
buy any of this stock at 
par, but it's still a good 
gamble. 



r]ORINNE GRIFFITH 
has moved into her 
new home at Malibu 
Beach and rented her 
Beverly Hills place. She 
says that her one ambi- 
tion right now is to learn 
to play a first-class game of tennis, 
every morning. 




Lois Moran: Becomes twenty- 
one and comes into inherit- 
ance of $68,000 from an aunt. 

She takes a lesson 



X/TR. AND MRS. EDMUND LOWE entertained re- 
cently in honor of Mrs. Lionel Barrymore, who 
has just returned from New York after an absence of 
a year, and Elsie Ferguson. The guest list included 
such famous names as Mr. and Mrs. Benjamin Glazer, 
Mr. and Mrs. Herman Mankiewitz. Mr. and Mrs. 
Arthur Hornblow, Fred Worloeh, George Cukor, Leo- 
nora Harris and Mr. and Mrs. Fredric March. 



'""pHE Academy of Motion Picture Arts and Sciences, 
made up of all the big guns in the motion picture 
business, has awarded its annual prizes. 

"The Broadway Melody" they said was the best pic- 
ture. 

Clyde de Vinna was awarded the prize for the best 
photography of the year for his work in "White Shad- 
ows of the South Seas." 

Warner Baxter, they said, was the best actor of the 
year for his work in 
'"In Old Arizona." 

Mary Pickford was 
given the prize for 
being the best actress 
as a result of what 
she did in "Coquette." 

Frank Lloyd won 
the medal as best di- 
rector for having 
megaphoned "Weary 
River," "Drag," and 
"The Divine Lady." 

Of course, nobody 
agrees on these selec- 
tions. Nobody ever 
agrees on any selec- 
tion. 



Monthly report on 
John Gilbert and Ina 
Claire. All seems to be 
well. Ina went to New 




A LMOST simultaneously with George Bancroft not 
liking the part he was to play in the picture which 
was scheduled for his next, "The Caveman," he lost his 
voice. Could not talk at all. Paramount has cast some 
one else in his part and sent to New York for special- 
ists. George's voice will be all right again very soon. 



Gary Cooper and Lupe Velez continue their romance. 
Hectic, but apparently satisfactory. Lupe chased Gary 
all over the house the other night because he said some- 
thing about her guitar playing and then when the bxrt- 
ler announced dinner, fell into his arms and said, "My 
darling little Gary, come and have your dinner. I lofe 
you." 



pPJNCE FREDERICK CHRISTIAN of Schaum- 
burg-Lippe and Princess Alexandra, his wife, had a 

lot of fun last month playing around the Metro-Gold- 

wyn-Mayer studio 
and eating with all 
the stars. They would 
not believe that Lon 
Chaney was actually 
doing the talking for 
the parrot in "The 
Unholy Three," so he 
took them over to the 
set and proved it. 
They saw Bill Haines 
stop a ball on a rou- 
lette wheel wherever 
he wanted it to stop. 
And they saw Bar- 
bara Leonard, a new- 
comer to pictures, 
make a scene in "Mon- 
sieur Le Fox" in En- 
glish and then turn 
around and do it in 
three other languages, 
with different leading 
men for each version. 
{Cont'd on page 96) 

23 




The 

Unknown 
CHARLIE 
CHAPLIN 



(Jim Tully drifted to Hollywood, an unknown strug- 
gler for fame. Today he is one of America's foremost 
ivriters, author of such widely popular novels and col- 
lections of short stories as "Shadows of Men," "Jarne- 
gan," "Beggars of Life," "Emmett Lawlor," "Shanty 
Irish" and "Circus Parade." One of his first jobs in Hol- 
lyivood was xoith Charlie Chaplin. Tully served, as he 
expresses it, as "one of the sad jesters in the court of 
the King of Laughter." His emotional afialysis of Chap- 
lin, consequently, comes from first-hand observation and, 
like all of Tidly's literary work, is honest and fearless in 
its expression. Here is the first complete description of 
the real Chaplin.) 

I FIRST met Charles Chaplin at a dinner given by 
Ralph Block. My first book had been published. 
Chaplin had read some of the reviews. When we parted 
that night he asked me to call on him and was kind 
enough to tell me that he liked me. 

Several days later I telephoned the studio. Chaplin 
sent his limousine for me. He was very kind during 
that first private interview. I was ill at ease. We 
parted, I think, with a feeling of reserve on both sides. 
I was not natural that day. Nor was I ever quite 
natural in all the months that I was to be associ- 
ated with the comedian. I have always regretted this 
fact. 

Paul Bern is ever on the alert to be kind, as hundreds 
in Hollywood besides myself can testify. He secured 
me a position with Chaplin. My salary was small, but 
it was a fair wage, considering what little work I had 
to do. It was agreed upon between the comedian and 
myself that he was to sign certain articles which I was 
to write from time to time. His name had value in the 
magazine world. After signing two articles he refused 
to sign more. Feeling the inadequacy of my posi- 
tion, and hoping daily against hope, I remained on 
the job. 

KONRAD BERCOVICI, the writer of gypsy romance, 
once wrote an article on Charles Chaplin for Har- 
per's Magazine. In it he did me the honor to call me 
Chaplin's secretary. He described my entering the room 
and laying a paper on the great jester's desk. No atten- 
tion was paid to me. 

Mr. Bercovici was sadly mistaken. My principal duty 
with Charles Chaplin was to receive my weekly check. 
I was merely one of the sad jesters in the court of the 
King of Laughter. 

The time arrived to select a leading lady for "The 
Gold Rush." Dozens of screen tests were made of ambi- 
tious young ladies. I often accompanied Chaplin's higher 
salaried yes-men to the projection room, where we 
watched the faces of these inane beauties flashed upon 
the screen. 



24 



An Emotional Analysis of the 
Famous Comedian, "The Most 
Complex of Human Beings'' 

BY JIM TULLY 



AN ordinary-looking Mexican girl arrived one morn- 
ing. She had played some years previously in "The 
Kid." Chaplin was not yet at the studio. The girl was 
about to depart, when lo — the little jester met up with 
his destiny. A screen test was made of the girl. Sev- 
eral of us agreed privately that it was the worst yet 
made. The girl did not photograph. 

Chaplin watched her features on the screen the next 
day. In silence we watched him. 

He rose from his chair. 

"That's the girl," he exclaimed. A fearful silence 
filled the little room. 

I walked to my office and allowed the yes-men to 
argue the great question. Something — perhaps a mood 
— as he had, and rightly, no respect for my judgment, 
compelled Chaplin to join me a few minutes later. He 
entered the room as tragic as Hamlet, hands held be- 
hind his back, a frown on his face, as though his next 
decision would rattle the stars from the sky. 

"What do you think of her, Jim?" he asked. 

Having been hungry, and knowing that he would 
choose the girl he preferred anyhow, I parried with, 
"I don't know, Charlie. She may be all right." 

THE rug on my office floor was vivid red. Chaplin 
began to pace up and down, up and down, hands still 
behind his back. His good-looking face bore the same 
fearful frown. Now and then I would glance at him 
and then let my eyes rest once more on the scarlet 
carpet. 

Suddenly the door opened. The Mexican girl en- 
tered. She was cheaply dressed, but her eyes flashed, 
her teeth were even, her body was so round and supple 
that one soon forgot the ugly black dress which 
clothed it. 

Chaplin smiled benignly, as gracious and charming a 
smile as I have ever seen. 

She stood before him and asked, "Well, what is it, 
Charlie? Am I hired?" 

The comedian looked at her and then down at his 
spats, which, actor-like, he always wore. 

I watched their expressions. The keen, fine face of 
the actor, mobile and finely molded, was a face that 
would be noticed in any gathering. The girl watched 
him, round-eyed, round-faced, full of life. I saw in her 
then everything which Chaplin did not see — a young 
woman who seemed to me devoid of spiritual qualities. 

/^HAPLIN answered at last, "You're engaged." 
v -' The girl leaped into the air with joy. Together 
they walked out of my office — to a troubled destiny for 
the man and a fortunate one for the girl. She after- 
ward had the fine fortune to marry the comedian and 
garner for herself many hundreds of thousands of 
dollars. 

If his marriage was a farce, his divorce was tragic. 
As Lita Grey Chaplin she brought him as much misery 
as it is possible for a misunderstanding young lady to 
bring to genius. 

She worked in "The Gold Rush" at a salary of 
seventy-five dollars a week. Mr. Chaplin has no more 
sympathy with large salaries than any trust. During 




25 



THE REAL STORY OF THE WORLD'S GREATEST CLOWN 



her stay at the studio, the 
officials from the Board of 
Education often called. She 
could scarcely be forced to 
study. Her grades were 
low and she had no inter- 
est in books. And to this 
girl was given by the 
Fates in marriage Mr. 
Charles Spencer Chaplin, 
the most complex of human 
beings. 

Just why he remembered 
Miss Grey from her child- 
hood days and insisted 
upon making her his lead- 
ing lady might be worthy 
the attention of a master 
of irony like Chaplin him- 
self. He has undoubtedly 
been away from it long 
enough to smile — until he 
remembers the fortune it 
cost him. And then, if he 




The real and the shadow Charlie Chaplin. "The fine 
keen face of Chaplin, mobile and finely molded, is a face 
that would be noticed in any gathering," says Jim Tully. 



weeps, he is but human. 



IT is my opinion that Chaplin does not like intelligent 
men as companions. 

Elmer Elsworth, one of the most whimsically humor- 
ous and highly intelligent men I have known, worked 
with him for many months. Chaplin once remarked to 
me that Elsworth was "a real highbrow." Given his 
choice between such a man and Henry, the heavy res- 
taurant proprietor in Hollywood, the comedian chose 
the latter. They have been close associates for many 
years. Chaplin frequents his restaurant and spends 
hours in chatting with other ephemeral film immortals. 

Chaplin often ridicules sentimentality in others. The 
publishers of Thomas Burke's "The Wind and the Rain" 
sent him a copy of that book. It is, so far as I know, 
one of the most maudlin and sentimental books written 
in any language. Burke is a product of the same Lon- 
don environment that produced Chaplin. Success has 
made both men dramatize self-pity. Chaplin read the 
book with tears in his voice. The true nature of the 
volume entirely escaped him. 
at the far end of the studio, 
else, he read and discussed the 
book at great length. 

When I asked to borrow the 
precious volume, he willingly 
loaned it to me, saying, 
"Take good care of it, Jim. 
It's my Bible." 



Secluded in a bungalow 
oblivious to everything 



THE book had touched the 
misery of his own child- 
hood. After seeing the East 
End of London, I can under- 
stand why. For there pov- 
erty is groveling, supine — so 
listless and beaten that it 
dares not hope. 

I said to him, "Charlie, it 
would be a nice thing to cable 
Burke and also send his 
American publishers a boost 
for the book." 

He was immediately enthu- 
siastic over the idea. I 
phrased cablegram and tele- 
gram, which he approved. 

Burke had asked him for 
an autographed photograph. I 
found one and took it to him. 
He frowned. 

"It's not good enough," he 
said. 

26 



SAYS JIM TULLY 
CHAPLIN— 
— ridicules sentimentality in others/' 

" — does not like intelligent men as 
companions." 

" — has the surprising quality of kind- 
ness and tolerance toward those who 
have been none too kindly to him." 

" — is far from gentle in his attitude 
towards life. People interest him a 
great deal, though he has no love for 
them in the mass." 

— never expressed any love for the 
beauty of nature." 

" — has a mind that is ever in furore. 
As restless as a storm, it is always 
charged with wonder." 



In London, four years 
later, I asked Burke if he 
had ever received the pho- 
tograph. 

"Not yet," he answered. 
Chaplin has often been 
called "a maker of di- 
rectors." During my term 
with him he had as his 
lieutenants Charles Reis- 
ner, now a successful di- 
rector; Edward Suther- 
land Henry, the ponderous 
restaurant keeper, and 
Harry d'Arrast. Monta 
Bell, the famous Para- 
mount director, had but 
recently left him to begin 
his brilliant career. Bell 
was in many respects the 
shrewdest and most able 
man associated with Chap- 
lin. He watched his op- 
portunity and sold himself to Warner Brothers to direct 
"Broadway After Dark." It was an immediate success 
and Bell's future was assured. I tried at many differ- 
ent times to get Chaplin to comment on the film. He 
would not. 

It had seeped through Hollywood that Bell had been 
partly responsible for "A Woman of Paris." Chaplin 
heard the news and made no comment. 

/^\NE of the most surprising qualities about him is 
v-' his kindness and tolerance toward those who have 
been none too kindly to him. His attitude toward life 
is far from gentle, however. People interest him a great 
deal, though he has no love for them in the mass. 

In all the months I was with him he expressed no love 
for the beauty of nature. I called his attention to a 
gorgeous sunset. He looked with narrowed eyes and 
said no word. He once, in a whimsical mood, spoke of 
the fog of London and wished that he might die in it. 
He told how it draped the buildings and hid their 
ghastly ugliness. 

Once, long after I had gone, three men sat at a table 
with him. Being citizens of Hollywood, two of them 

evidently thought the shortest 
road to his heart was in dis- 
paraging me. Chaplin listened 
for some time, saying noth- 
ing. At last he said, "He 
can write," and the subject 
was changed. 

His mind is ever in a fu- 
rore. As restless as a storm, 
it is always charged with 
wonder. The vagaries of the 
human brain interest him a 
great deal. The Leopold- 
Loeb case kept him en- 
thralled. He often expressed 
pity for the Chicago anarch- 
ists done to death as the out- 
come of the Haymarket riot. 
One brave fellow in the 
early morning hour before 
his execution sang so that the 
entire prison could hear: 
"Maxwelton braes are bonnie, 
Where early fa's the dew — 
It ivas there that Annie 

Laurie 
Gae me her promise true." 
Chaplin often talked of this 
incident. Whenever he did, 
his voice was soft. 

(Continued on page 125) 







Miss MacDonald, the charming queen of "The Love Parade," is happy again. She is 

back in California under Ernst Lubitsch's direction, making another cinema operetta, 

"Monte Carlo." Jack Buchanan, the English actor, is her leading man. 



Photograph by Don English 



JEANETTE 
MACDONALD 

27 




Photograph by Elmer Fryer 



Lila Lee is just twenty-five. Into those twenty-five years have been crowded many fantastic and startling 
events. For twenty of those twenty-five years Lila has been an important figure in the American theater. 
At thirteen she was a screen star. At fourteen she was a film flop, struggling to start over again. She has 
been through the heartbreak of a tragic marriage. She had a baby. Today, however, she stands in a 
screen place all her own. Limitless possibilities are ahead of her. 



28 



Th 



Drama 



of 



LI LA 
LEE 



By EVELYN GRAY 



Act I. 



HAVING seen Lila Lee's birth certificate, I 
am willing to swear that she is just 
twenty-five. 

Of course she looks even younger. Lila 
still has a forceful awkwardness, a certain im- 
pulsiveness that is part of extreme youth. Only 
it seems hardly possible that anyone could crowd 
into twenty-five short years all the things that 
have happened to Lila. 

Perhaps that is why there is a little weariness in 
Lila's young face. Perhaps that is why at times she 
makes mistakes and grows a little confused. Life has 
rushed her so — from one thing into another — always in 
a breathless sort of way — piling drama on top of drama. 

"G^OR twenty years this girl has been an important 
" figure in American theaters. At thirteen she had 
been a screen star — and the most colossal failure ever 
recorded in motion pictures. At fourteen she had to do 
that thing which staggers strong men — she had to come 
back or quit. 

She has been through a strange and tragic marriage, 
had a baby, fought her way up and down through all 
the heartbreaks of the movie world — and now stands 
alone, with limitless possibilities ahead of her. 

There is in her much foolish wisdom and much wise 
foolishness. Whether she was born to it or whether 
her amazing childhood bred it deep into her soul, Lila 
Lee is an artist and a Bohemian. Often she has thrown 
away great chances to follow her heart. Money has 
never meant anything to her. The theater and the 
screen she loves — I think she would wither and die 
away from them. She almost did when her husband 
persuaded her to follow him into the desert and give 
up her career. 




Lila Lee was born in 1905 in New York, the child of immigrant 
parents from Southern Germany. Her name was Augusta 
Appell. It was while her father ran a hotel in Union Hill, 
N. J., that little Augusta caught the eye of Gus Edwards and 

his wife. 

Every great career is influenced by someone. The 
career of Lila Lee was not only influenced, it was 
created by a woman. Perhaps she would have followed 
some yearning within herself and arrived at the same 
end if she had never seen Lillian Edwards. But I doubt 
it. Her whole life has been lived as the child of this 
spiritual mother. 

TT happened like this: 

•*■ Back in 1904 a little family arrived in New York 
on one of the small, slow boats. They stood at the rail, 
father, mother, and one little girl with straight, long 
pigtails, staring at New York Harbor. In swift Ger- 
man they spoke of the little inn they had left behind 
them in Southern Germany and of the fortune and 
freedom which were to be theirs in America. 

Charles Appell and his good wife, Augusta, and their 
four-year-old daughter, Margaret, were just a drop in 
that great river of emigration flowing from the old 
world to the new. They were strange and frightened, 
but very hopeful. 

They settled in the great city of New York, among a 
small colony of their own kind, and Charles found work 
as a waiter. His wife could not work for she was await- 
ing the arrival of a newcomer, the first American in 
that old family of German peasants. A son this time, 
surely, a son to be born in this new land where all men 



The Absorbing Life Story of a Twenty- Five -Year- Old 

Veteran of Motion Pictures 



29 



AUGUSTA APPELL, CUDDLES AND THEN LILA LEE 




Lila has an older sister, Margaret, born in Germany before their parents migrated to America. Above, Lila and her 

sister, now Mrs. Tuttle, in Lila's Hollywood home. 



were equal and he might actually grow up one day to be 
President. 

But it was not to be. On a morning in July, 1905, 
there arrived a very small, feminine mite who protested 
loudly against being born anywhere, and who for a 
whole year seemed bent upon leaving America for some 
unknown land. 

"What shall we name her?" asked the mother. 

"It matters not," said Charles. "If it had been a 
boy, we would have called her Charles, after me. Why 
not then Augusta, after you?" 

So Augusta Appell received her first; — and least 
known — name. 

TN 1910 an act arrived to play the little theater. Gus 
•*• the new daughter and began to make plans to better 
things for his family. He wanted to get out of New 
York. It was too big. A man must be a giant to lift 
his head above the mob. Besides, it was not a healthy 
place for the two little girls, especially for tiny Gussie. 

When a chance presented itself the Appells moved 
across into New Jersey and Charles became boniface of 
an ancient and none too prosperous hotel in the old town 
of Union Hill. Once again they were within walking 
distance of the green fields and the flowers. They were 
away from the noise of New York. And since they were 
good innkeepers, these two, they made the old hotel pay 
a living. Charles knew what it meant to make guests 
comfortable and Augusta was a marvelous cook: 

Next door to the hotel was a theater, where in sum- 
mer a stock company performed old-time successes. In 
the winter, vaudeville bills played two and sometimes 
three-night stands there. The actors and performers 
always stayed at the Appell's hotel and complimented 
Charles upon the chicken noodles and the apfelstrudel. 

IN 1910, an act arrived to play the little theater. Gus 
A Edwards' boys and girls, his "School Days," were 
not so well known then as they became later. But they 

30 



were headliners, and Gus Edwards himself was popular 
with people everywhere. He and his wife and the 
youngsters then making up the act stopped at the 
Union Hill Hotel. In the morning they rehearsed the 
show, and later presented their host with tickets. All 
moved smoothly. 

You have heard ere now of "little things" that alter 
lives. A little girl in Gus .Edwards' act had a passion 
for apples, which Augusta kept for cooking purposes. 
At six o'clock Mr. Edwards came frantically to Charles. 
Disaster had befallen. The little girl was very sick. 
She simply couldn't appear. Where could he get an- 
other little girl to be on just for that night? 

Charles shrugged. He knew how to provide most 
things for his patrons, but little girls to go in acts 
were out of his line. He gazed at his own younger 
daughter, playing calmly in the lobby, but could think 
of no solution. 

Gus Edwards' eyes followed his. He saw a very tiny 
person, with a mop of black hair falling nearly to her 
knees, and a perfectly round little countenance out of 
which peered two enormous calm black eyes. 

WHO is that?" he said. 
"That?" Charles shrugged again. "That is 
my own little Gussie. She is but four and a half years 
old. Much too little. But perhaps " 

"She'll do," said Gus Edwards. "I only want her to 
sit on the piano tonight. I'll get someone else tomorrow 
from New York." 

But he didn't get someone else the next day nor for 
many days thereafter. For little Gussie Appell sat on 
the piano with such enormous success, her small fat 
presence and her amusing calm so delighted the_ audi- 
ence that they insisted upon her having a curtain call 
all to herself. She took it with superb nonchalance, 
made a fat curtsey, and seemed not at all disconcerted 
at finding herself behind footlights with many people 
staring at her. (Continued on page 120) 



FLASH BACKS ,o,0YearsA9 ° 



By Albert T.Reid 



ACOUPLE OF 

POPULAR 

YOUNG 

AMERICANS 

WERE ABROAD 

ON THEIR, 

HONEYMOON 




TWO-GUN BILL 
HART WAS A 

RSDING, RIDING, 

RIDING, AND HE 

ALWAYS GOT 

HfS MANS 




- /^lber-CT.'Re?d 



T. 



A 



KATHERIWE MACDOMALD 
IN THE SMARTEST OF 

1 920 SPORTS CLOTHES, 
CAMEL'S HAIR MUFF- 
LER, AND ALL. -* -*- 





FATTY ARBUCKLE IN THE*ROUND-UP'i 
GETTING INTO AND OUT OF TIGHT 
PLACES.VAS FURNISHING MOST OF 
THE HEAVY LAUGHS OF THE TIME — 



31 





Lillian Gish 



Norma Talmadge 



Mae Murray 



Adela Rogers St. Johns Compares the Film Youth 
of Today and of Yesterday 

By Adela Rogers St. Johns 



IN common with every other section of the globe, 
Hollywood has its problem of the younger genera- 
tion. 

On every hand, in fact and in fiction, youth oc- 
cupies a large place as a subject of plot and conversa- 
tion. The opinion has frequently been expressed that 
modern youth is setting a record for wild conduct and 
moral degeneration. You might almost get the impres- 
sion, if you happened in from Mars, that the girls of 
our time are practically hopeless. 

This is the first time the matter of a younger gener- 
ation has presented itself to Hollywood. You see, there 
didn't used to be any. Every- 
body in the pictures busi- 
ness was young. It was the 
first dynasty and those who 
had begun the business were 
carrying on. They had no 
history and were too busy 
to consider the future, to 
foresee in any degree the 
gigantic thing which has de- 
veloped in the last ten years. 

Now the old order chang- 
eth. I have become definitely 
conscious of it because we are beginning to reminisce 



There is no flaming youth among 
the stars of today. There is too 
much conservatism, too much 
standardization, too much con- 
sciousness of self." 



HpHE younger generation exists in force in Hollywood, 
-*• socially and professionally. It must be considered. 
They are very different, these new girls who are ar- 
riving, have just arrived, or may arrive some day. The 
girls of today who will be the stars of tomorrow, who 
occupy the same places now that were occupied only a 
short time ago by the Talmadges — by Swanson and La 
Marr — by Colleen Moore and Bebe Daniels — and just 
a little later by Joan Crawford and Clara Bow and Greta 

32 



Garbo. The girls from whose ranks will be called the 
next additions to the star groups. 

They are different, but contrary to all expectation, 
there isn't anything flaming about them. The problem 
exists more upon the side of too much conservatism, 
too much standardization, too much caution in self- 
protection, too much calm and deliberate consciousness 
of self. 

The truth of the matter is that I have a hard time 
telling them apart. There are the blondes and the Span- 
ish and the Janet Gaynors and you can tell to which 
type they belong, but after that the identification be- 
comes lost in a cloud of 
sameness. If one of them 
died in the middle of a pic- 
ture, you could substitute 
nineteen others and nobody 
would know the difference. 

Perhaps that is a little too 
strong. But in general it is 
true, and it is the opinion, I 
find, of many directors and 
male stars, in whose pictures 
a lot of these new girls ap- 
pear as leading ladies. And 
I mean ladies, in all the fatal senses of that word. 

"DESTRAINT and determination to avoid scandal have 
-*-^ resulted in the whole place being overrun with ladies. 
With well-behaved, well-educated, beautiful young 
things who can't be told from members of the Junior 
League except by the fact that they behave with more 
dignity in public and are better gowned and better 
groomed. 

In my opinion a lot of them are about as uninter- 
esting. 




Pola Negri 



Constance Talmadge 



Barbara La Marr 



Hollywood's Younger 

GENERATION 



Don't misunderstand me. It is excellent to be lady- 
like. It's a splendid thing for the morale of Hollywood 
as a community to have this multitude of sweet young 
things who live at home, save their money, get engaged 
and married according to Emily Post. Nice girls who 
think an orgy is something you take out in an operating 
room and regard the Volstead Act as an eleventh com- 
mandment. 

It's a great improvement and a testimonial to the 
essential soundness of the motion picture industry. 

But is it art? 

I do not necessarily advocate the theory that one must 
live to act, or that one must 
have loved and sinned and 
suffered and starved to be 
an artist. Keats and Mo- 
zart, masters forever in 
their own fields, died before 
they could do much of any 
of that. Janet Gaynor's 
performance in "Seventh 
Heaven," will long rank as 
a perfect gem in the annals 
of screen acting. We shan't 
soon forget Jackie Coogan 
in "The Kid," nor Mae Marsh in "Intolerance." 

But the fact remains that most great actresses and 
most great operatic prima donnas have been dynamic 
women who did not conform to the ordinary life around 
them, who expressed some beauty and some talent and 
some personality and some fire which made them stand 
out from among the ordered ranks of those meant by 
destiny for different ends than trying to captivate and 
move audiences through the medium of dramatic art. 

The unrevealed capacity for these things is in many 
women who never are directed by fate into such chan- 



Hollywood now is overrun with 
ladies, well balanced, well educat- 
ed, beautiful, uninteresting young 
things but will they drag you from 
home to the box office?" 



nels as the stage or screen. But I am wondering where 
we are going to get any screen immortals out of this 
finishing school, any personalities which will be vital 
enough to command the attention of millions and 
awaken the real love and admiration of the world. 

HPHEY are nice girls — lovely girls. You can offer them 
-*- the most sincere respect. But that isn't enough, is 
it? It isn't enough to drag us away from home and 
fireside and a good book, to pay good money at the box 
office. 

I am afraid sometimes that these new girls of the 

younger generation lack 
the vitality, the exagger- 
ated personality, the depth 
of emotion and the breadth 
of human understanding 
which are eternally neces- 
sary to high drama or fine 
comedy. 

I am not unjust. I do 
not compare these girls I 
see about the studios and 
at parties nowadays with 
the women of the screen 
as they are today — the women whose charms have 
reached the zenith of mental and physical development. 
I don't compare a Jeanette Loff to a Gloria Swanson, 
or an Anita Page to a Garbo. 

Nor do I discount the beauty and ability of many of 
these girls, and their appeal of youth. No one appre- 
ciates more than I do the loveliness of a Loretta Young, 
the kitten-like sweetness and comedy and pathos of a 
Nancy Carroll, the clean-cut fineness of a Sally Eilers. 
Yet looking at them, and then remembering back ten 
or fifteen years, I cannot feel that they show the prom- 

33 



WHERE ARE THE VIVID FILM GIRLS OF YESTERDAY? 




Three membsrs af Hollywood's younger generation of 1930 at the bar: Fay Wray, Mary Brian and Jean Arthur. 
Do you think they possess less color and interest than the screen girls of yesterday? Mrs. St. Johns does — and 

she tells you why in this article. 



ise of great things which was shown by the group I 
knew ten or fifteen years ago when we were all kids 
breaking into this racket together. They lack what 
writers call "color." Too often their thoughts and am- 
bitions, as well as their mode of life, is stereotyped. 

HP HEY don't seem to enjoy life as that earlier group 
*• did. It takes so much more to give them a kick. 
They are wiser in the ways of the world, but they 
haven't the power to live, the eagerness to see, the cour- 
age of freedom and prog- 
ress that used to exist in 
the pioneer days. The close 
friendships, such as existed 
between Connie Talmadge 
and Dorothy Gish, between 
Mary Pickford and Lillian, 
are missing. 

Glance over the outstand- 
ing and amazingly differen- 
tiated personalities that 
were the younger genera- 
tion a very short time ago. 

Constance Talmadge at 
the time she made her first 
big hit in D. W. Griffith's 
"Intolerance," and for sev- 
eral years after that. There 
was a tomboy gallantry, a 
tremendous joy of living, 
about "Dutch" that made 
her unforgettable. She and 

Dorothy Gish were like a couple of carefree kids. They 
loved their work not because they were deeply impressed 
with success which meant fame and money. They didn't 
know it did. They just enjoyed every minute of it. 
The black sheep of the Gish family, as she used to call 
herself, and "Dutch" were a pair it would be hard to 
beat if you were looking for amusing companionship. 
They could think up more gags in one afternoon than 
now go to make up a Harold Lloyd comedy. 

Beside them, put such mystery and spiritual beauty 
as made Mary Pickford the most famous woman in the 



'The film girls of today don't 
seem to enjoy life as that earlier 
group did. 
more to give 
are wiser in 



world. And shy, brilliant, little Colleen Moore, with 
her slim grace and her warmth and Irish understand- 
ing — Colleen who looked like a kid sister and could talk 
Wagnerian music, or Pater's essays, or football, or news- 
paper publishing with anybody if you got her started. 
The unrivalled beauty of Barbara La Marr and Cor- 
inne Griffith — as different as two women could well be, 
yet both with minds and fascination back of their 
loveliness. 

Where are we to match, today, the wistful genius of 

Mae Marsh, and the sub- 
lime comedy of Mabel Nor- 
mand? 



It takes so much 

them a kick. They 

the ways of the 

world, but they haven't the power 

to live, the eagerness to see, the 

courage of freedom and progress 

that used to exist in the pioneer 

days. The old close friendships 

are missing, too." 



HP HE other day in a little 
J- chapel in Los Angeles I 
saw gathered about the 
blanket of lilies-of-the-val- 
ley which covered all that 
tragedy had left us of that 
lovable and unfortunate 
child, all the great comed- 
ians who made screen his- 
tory — Charlie Chaplin, Ben 
Turpin, Roscoe Arbuckle, 
Harold Lloyd, Ford Ster- 
ling, Chester Conklin. And 
the outstanding women 
who excel in the art of 
laughter, Marion Davies 
and Constance Talmadge, 
Marie Di'essler and Polly 
Moran. They sat with bowed heads, thinking of the one 
of them all who was master of comedy, the one they 
all acknowledge to have known more about comedy than 
anyone else who ever walked before a camera — Mabel 
Normand. 

Possibly I am wrong, but I don't see any Mabel 
Normand in the shining ranks of the younger genera- 
tion. Possibly she is there, hidden behind a five dol- 
lar a day extra check. Possibly it is Lillian Roth, or 
Helen Kane and they haven't yet shown their merits. 
But the moment you met (Continued on page 124) 



34 



^ 



• v// /\l/ 




VENICE. This month we present the Grand Canal as you fancy it after watching the endless procession of 
talkies. Here is the wettest of Italian cities — as Hollywood sees it. 



35 




THE STARS' OWN 

The Screen Idols are as Human as You and I — and 
they have their own Motion Picture Crushes 



s 



OME stars have million-dollar press agents! Yet 
they don't pay them a cent. 

Not only that, but the press agents themselves 
are famous! 

Say, this thing is getting just too involved, isn't it? 
I'll tell you. 

Probably the most enthusiastic fans in the whole wide 
world are the stars themselves. And I'll let you in on 
a little secret. They're very human about it. They 
like their stars in just the same way that you and I 
do. There are picture stars who are just as thrilled 
at seeing Greta Garbo as anybody in Centerville, Ohio. 
They may like the way a star combs his hair or wears 
clothes or the manner in which he or she twitches an 
eyebrow. And sometimes they get a real crush, even as 
you and I! 

"\X7"HY, I've known Mary Pickford to rush from the 
* * studio at night without her dinner to view Lillian 
Gish in a new picture, not only because she thinks Lillian 
is a fine artist, but because she is her chum; and I've 
known Lillian Gish, after an all-night vigil with her 
sick mother, insist next night on going, though she 
was ready to drop, to see Mary in a review. 

Janet Gaynor came from Catalina in a little launch 
at night, arriving wet and disheveled, to see Ann Hard- 
ing in a new picture, and Doug Fairbanks raced across 
a desert from location in Summertime to be in time 
for a Chaplin premiere. 

And I know an actress who has a perfectly awful 
crush on Ronald Colman without ever having met him ! 
She's a pretty noted actress herself. 

So if you think that a star is a person who stands 
off and says, "Look at me. I'm the only person worth 
seeing," you're all wrong. 

Everybody is human, of course, actors the same as 
everybody else. And probably there are two or three 
stars who think they're infinitely superior to any other 
star. And maybe all of them, down at the bottom of 
their hearts, think there is some teenty little way in 
which they are a teenty bit better than any other star. 
But in the main — oh, well, let them speak for themselves 

36 



Maurice Chevalier 

"AS long as I have been looking at Douglas Fairbanks 
^*-on the screen," declared Maurice Chevalier, "he has 
been my favorite. I first saw him in 'The Mark of 
Zorro' in Paris almost ten years ago. 

"I like Fairbanks because of his vitality and his phys- 
ical prowess. 

"But he is also a fine actor. Don't forget that. 

"Fairbanks' taste is always faultless, and his produc- 
tions are made with the most meticulous care. 

"My meeting with Fairbanks was a real event in my 
life. He is a gentleman on and off the screen." 

Mary Pickford 

\X7"ELL, you won't believe it maybe, but Mary Pickford 
** declares that her favorite actor is Mickey Mouse! 

"Mickey Mouse," Mary said, with her humorous grin, 
"seems to me to be the only actor who has so far really 
mastered the new art of talking pictures. His voice suits 
him and he never says too much. He has poise and is 
entirely lacking in that horrible self-consciousness in the 
presence of the mike which be-devils most of us actors. 

"I do hope that Doug won't be jealous. I think he is 
good, too!" 

Harry Langdon 

"COME comedians like a little tragedy relief in their 
^ lives — like dramatic actors best. Not I. I'm so 
serious about my own work, I like to go and laugh 
at other comedians' antics," explained Harry Langdon. 
"I like Charlie Chaplin and Louise Fazenda best. No 
matter how great a star Charlie becomes, he never for- 
gets to keep the common touch — without being common. 
And no matter how small a part Louise Fazenda has, 
she brings everything she has to it. I could sit up all 
night to view either of them!" 

Clara Bow 
"fP VEN the It-Girl of the screen herself has her favor- 
- L ' ite actress. 

"I like Norma Shearer because she seems to me always 
to be a real girl — like the girl you might know next 
door," says Clara. 

"Then she has a lovely voice, which is a God-given 
thing. Her voice seems just made for the talkies. 




FAVORITE STARS 



By GRACE KINGSLEY 



And her clothes! There is a certain chic required 
for the screen, a sophistication, and Norma has it." 

Richard Dix 

"OEALLY I have two favorites," said Richard Dix. 
-^-"One for drama and high comedy, the other. for low- 
comedy. Please may I have two? 

"George Arliss is my ideal — the one I would like to 
resemble. He has such an amazing versatility in his 
character portrayals. And his technique is so perfect — 
there's not a lost gesture. And down underneath there's 
such an understanding of human nature and such a 
compassion for its frailties. 

"Benny Rubin is my favorite comedian. He has me 
in stitches. I don't know why. If I could analyze his 
comedy, I probably wouldn't laugh." 

Janet Gaynor 

"T'M just like a lot of other young actresses in that I 
■*- admire Mary Pickford above anybody else. She 
has been my ideal ever since I began going to pictures," 
said Janet Gaynor. 

"One of the main reasons is that she understands 
child psychology so well. She does the exact things that 
any other child could do, or at least that any child 
would wish to do. No other actress ever has under- 
stood child psychology so well. 

"But that doesn't mean that she isn't great in grown 
roles, too. She is. She has an understanding of art 
and life that seems boundless to me." 

Doug Fairbanks 

"ly/TY favorite actor, did you ask? Not the greatest 

*■**■ actor?" demanded Douglas Fairbanks. "Well, 

then, I'll just have to tell you it's Doug Fairbanks, Jr. 

"I can tell you why he's my favorite actor. You've 
got to admit that young Doug has subtlety, a quality 
seldom found in so young an actor. And he has great 
naturalness and an effortless manner. And, more than 
anything else, perhaps, he is always sympatica. 

"There are faults in his acting, lots of them. But 
I'm not going to tell you what they are. He remains 
my favorite actor." 

Joan Crawford 

VI^ELL, now, if we can get Doug, Jr., to say that 
** Joan Crawford is his favorite actress, this will 



be just one big happy family with nothing to hide. 

For Joan Crawford admits, too, that Doug, Jr., is 
her favorite actor. She stands right ready, also, to tell 
you why — there's no mere sentimental mush here ! 

"Young Doug, to my way of thinking, has actual 
genius. I know that's a large order. But genius is 
more or less instinctive, isn't it? That's the way with 
Doug's acting. He seems always to re-act emotionally 
exactly right to a situation. And yet he has restraint. 
There's never any hamish over-acting. And please re- 
member Doug's acting has always been like that, from 
the first moment he stepped into a scene." 

Bill Haines 

ly/TAYBE Joan Crawford is just a bit of an old meanie 
y'*- not to say that Bill Haines is her favorite actor, 
inasmuch as he admires her so much. 

And Billy has another favorite, too. She is Gloria 
Swanson. 

"I admire Joan because I think that she embodies all 
that is lovely and spontaneous in feminine youth. She 
is youth incarnate. But that isn't all. She has the 
makings of a very great actress — temperament, the 
right sort of intelligence. And in the meantime she is 
pretty and human. 

"Gloria is amazing," says Billy. "She is both deeply 
human and gorgeously artificial." 

Gary Cooper 

"T'LL admit that, take him all around, Charlie Chaplin 
■*■ is my favorite actor," declares Gary Cooper. 
"He makes me laugh, and I love to laugh. All these 
dead serious roles they've wished on me make it neces- 
sary for me to laugh. No other comedian can strike 
just the same responsive chord that Chaplin does. 
"He's a great artiste — but why bring that up?" 

Victor McLaglen 

" ANY actor who has to play all the rough and ready 
Jr ^ guys I have to play is bound to adore some little, 
sweet, adorable morsel of femininity when he goes to 
the theater," said Victor McLaglen. 

"And to my way of thinking, Janet Gaynor is the 
utmost embodiment on the screen of all the qualities that 
are the opposite of the hard-boiled characters I play. 
I can get quite sobby over Janet's troubles on the screen. 
I'll bet she'd laugh if she could (Continued on page 108) 

37 




opening 
on the 
at the 
Theater 



SPECIAL PHOTOGRAPHS BY STAGG 

All Quiet on the 
Hollywood Front 



These striking night shots 
were made by NEW 
MOVIE'S own photog- 
rapher at the 
of "All Quiet 
Western Front' 
Carthay Circle 
on Wilshire Boulevard, 
half way between Holly- 
wood and Los Angeles. 
By means of sun arcs, the 
night was made as light 
as day. The statue in the 
picture at the left is the 
much talked about study 
of an early Californian 
panning gold. That was 
before they discovered 
there were films in them 
thar hills. 

Yes, the premiere of "All 
Quiet" was a big social 
event. Everybody in the 
film business was there. 



38 




39 




Photograph by Melbourne Spurr 

It is the night of March 3,J915. The scene is the Liberty Theater in New York. It is the never-to-be-forgotten premiere 
of The Birth of a Nation," the picture by which all things cinematic are dated. The little colonel, Ben Cameron, in his 
tattered grey uniform, has passed through the broken gate of the old Cameron homestead, up the steps to the waiting 
arms of his sister, done by Mae Marsh, in her pitiful make-shift ermine. The great audience sobs — and cheers. 
Walthall is famous. Today Henry B. Walthall plays small roles in the talkies, forgotten by the newer generation. But, 
to the older, there will never be ^screen actor so compelling, so romantic, so lovable. To him — the little colonel of 

"The Birth of a Nation" — this page is dedicated. 



40 



LAUGHS of the FILMS 







What do you consider the funniest talkie joke of the month? THE NEW MOVIE will pay $5 for the best 
written letter relating the best talkie joke. If two or more letters prove of equal merit, $5 will go to each 
writer. Address your jokes to Laughs of the Films, THE NEW MOVIE, 55 Fifth Avenue, New York City. 



41 




The first exit from a Hollywood party. Tiburcio Vasquez, 

bandit, was shot as he dived from the window of his 

girl's house, in what is now Hollywood, fifty years ago. 

Thus Vasquez set a social precedent. 



TIBURCIO VASQUEZ, bandit, was shot in the 
pants as he dived through the window of his 
girl's house in Hollywood some fifty years ago. 
He was the first man to make exit from a 
Hollywood party in this manner. In so doing he set 
a precedent that has proved most unfortunate to the 
social standing of the cinema capital. 

Tiburcio, though a bandit, was not of the movies. 
They came later. Nevertheless, the early love life 
of California, with its shooting affrays, gave to 
Hollywood a sort of romantic hang-over. The pioneer 
leaders of movie society were quick on the trigger 
and casement. 

It was difficult for conventional Eastern people to 
catch this spirit of whimsy in romance and fiesta that 
was Hollywood's heritage from bandit days. They were 
quite right in criticizing us from their viewpoint. It 
was our mistake to turn tail under this criticism and 
attempt to imitate the effete East. Arrayed in manners 
unnatural to our soil we have presented a sight as 
pathetic as the South Sea Islander in top hat and 
mother hubbard. We should have remained true to our 
traditions, to the pattern of Vasquez, Muri'ieta, Chavez, 
who, unlike the bandit immigrants from the East, were 
always gallant and never failed to ask a mother's bless- 
ing before holding up a stage coach and scamouching 
off with the good looking dames. But we have be- 
trayed that heritage and so must suffer consequential 
laughter when we attempt the tricky etiquette of the 
East. 

"V"OU doubtless read Thyra Samter Winslow's yawn 
J- at Hollywood society in a recent issue of New Movie. 
It was the topic of many Hollywood salons (one "o", 
printer!). You must have read, too, the indignant com- 
ments of the actors the month following. They said 
that evidently Thyra did not meet the right people. 
(Each said he had not met her.) Obviously she did 
not. I did not meet her. So how unfair of Thyra to 
talk of our aristocracy when she hadn't met us. 

42 



Why It Has Been Diffi- 
cult to Reconcile Effete 
Eastern Social Customs 
with California's Spirit 
of Whimsy in Romance 
and Fiesta 



Had Thyra come to me with credentials from 
blue-booked persons of New York — say the dow- 
ager Vanderbilt, Jimmy Walker, Texas Guinan or 
any of the big mattress and soap endorsers I would 
have initiated her into the inner circle so to speak. 

Society anywhere is a bore when it strains to rules. 
Dinner parties are probably the most artificial attempt 
at pleasure ever conceived. No other animal aside from 
the human ever assembles at trough en masse, save, 
of course, under the artificial compulsion of the barn- 
yard. Certainly my dog, of pedigreed ancestry and blue 
ribbon title, has never been caught summoning the 
neighboring pedigrees when he had a good bone. Au 
contraire, he seeks isolation and concentrates. He 
realizes that eating is an animalistic sensuality which 
should not be a part of well-bred social intercourse. No 
one, dog or man, is at his best intellectually whilst 
chewing the leg of a dead hen. 

It is only when people are utterly themselves that 
they are unique and therefore interesting specimens, 
be they what they may. The charm of Hollywood is wan- 
ing because of the effort to be something else. And be- 
cause Hollywood does everything in a Bigger and Bet- 
ter way, the stupidity of the conventional party is 
stupendous, gigantic, colossal and . . . see billboards 
for further adjectives. Nothing is so pathetic as 
this trying to do the right thing. Again I refer piteously 
to mother-hubbard Polynesians and to well-bred dogs 
that are forced to perform tricks at the command of 
humans. 

There are among us, however, staunch souls who 
refuse the yoke of our conquerors. True Hollywoodians 
they may be found in all integrity in the privacy of 
their homes provided you know the password. 

THERE is, for instance, Corinne Griffith, who, though 
she has had to compromise somewhat with current 
Hollywood manners, is the very essence of refinement 
and femininity. I lunched alone one day with Corinne 
in her Beverly Hills palazzo. I confess I prefer Corinne 
tete-a-tete than at one of her larger parties. Her gaiety 
amid the consuming mob always appears to me forced 
and ill at ease. 

We lunched alone and it was a brilliant affair. She 
had new servants. Pie came on with the salad. We 
chortled lustily to show we knew better, then fell upon 
both. Afterward we sat under an oleander tree of her 
garden and reminisced of our Vitagraph days when 
Corinne was so poor she had only one diamond bracelet. 
She told me her secret was saving a percentage of her 
salary always, even when she got only fifty a week. 
"Because money," she drawled, "is the only way to 
freedom in the present scheme." 

We discussed our Beverly Hills properties and won- 
dered how long we could pay the taxes. Then Corinne 
suddenly veered to the poems of Verlaine and Mallarme. 
Perhaps it was the juxtaposition of pie and salad. I'm 
sure Corinne would have cut her throat rather than 
make such reference at one of her big parties. 



The LOW-DOWN on 

HOLLYWOOD 
HIGH LIFE 



BY HERBERT HOWE 



Unquestionably it was the luncheon. The 
servant, acting on intuition, had caused us 
to be ourselves likewise. After all, it 
seems society is principally a matter of 
servants. If they serve the wrong 
thing you are liable to go off talking 
of symbolist poets instead of box- 
office records. 

I recall the remark of Jim Tully, 
noted society man and cotillion 
leader, over a lunch of onions and 
hamburger in his Spanish joint. 
The cook had just departed for the 
kitchen after serving us with as 
fine a flourish as one can serve 
onions and hamburger. "There's 
irony," said Jim, jabbing a fork in 
the direction of the cook. "That 
poor dame lays in the hammock 
all morning reading Emily 
Post and she has to wait on - 
a guy who don't know /* 
whether to use a spoon 
or a fork." 

(Continued on 
page 112) 










ILLUSTRATED 

BY 

GARRETT 

PRICE 



Charlie Ray had the first but- 
ler in Hollywood. People 
would ring Charlie's bell and 
then duck into the agapan- 
thus, just to see the butler 
and to give him what we now 
politely call the "bird." 

43 




■da 



Judge Henry Cooper, formerly of Montana, must be mighty proud of his son, Gary. His boy comes close to 

being the most popular young man in Hollywood, getting more letters every day of the week than dad received 

in a half dozen years. They've even nam=d a Montana town after Gary. 



44 




Bebe Daniels is becoming the bride of Ben Lyon at about the time you read this issue of NEW MOVIE, 
how Miss Daniels and Mr. Lyon met for the first time -- and how the romance started. 



Read here 



HOW THEY MET 

The Real Story of How the Famous Hollywood 
Romance Started, Told for the First Time 

By HOWARD GILL 



HOW they met — and when — and where. 
The beginning of a romance is one of the 
things poets have always sung about. 

It's one of the things cherished in memory 
forever. 

Sometimes first meetings are casual and the two 
would be amazed and incredulous could they see a few 
years into the future and know that the introduction 
wasn't a mere social convention but something momen- 
tous and glorious. 

Sometimes first meetings light an instantaneous 
spark. 

Often such meetings come about by what seems al- 
most a fluke, and later in their happiness the man and 
woman are almost afraid to think how nearly they 
came to not meeting at all. 



And still oftener business — particularly in the film 
colony — is responsible for bringing life partners to that 
first contact. 

HERE is how some of them met: 
A young man named John McCormick was acting 
as business manager for a certain big film corpora- 
tion. He had received a wire from the bosses in New 
York to see Marshall Neilan and get a definite answer 
from him on a certain point in his contract. So John, 
after much telephoning, located Mickey at his rooms in 
the Los Angeles Athletic Club. Mickey told him to 
come on down — and John went. 

In Mickey's rooms were a dozen convivial souls. 
John sat — and sat— and sat, getting madder by the 
minute. Finally, dinner time (Continued on page 107) 

45 




Children of Stage 
Folks Always Turn 
to the Theater, for 
There Is No Way 
to Fight the Glam- 
our of Acting 



Taylor Holmes, the veteran comedian of the stage shows his son, Phillips, some 

make-up tricks. Phillips' mother, Edna Phillips, was a well-known actress of her day, 

while Taylor was long a Broadway star. 



WHEN John Barrymore was working as a car- 
toonist and illustrator on the New York Eve- 
ning Journal, the editor of which was Arthur 
Brisbane, there came one fateful evening on 
which the youthful Barrymore was saved for the Amer- 
ican stage. According to the account, John had gone 
off with some boon companions to while away the idle 
hours in one of those quaint pre-prohibition resorts. 
There was made wassail, and finally, after some search, 
the editor's emissaries brought the young artist back to 
the office to illustrate a most important murder case. 
The picture drawn did not show the artist at his best, 
as Barrymore puts it. Brisbane drew him aside and 
the conversation went thus : 

"Your family are actors, I hear, young man." 

"Yes." 

"Well, I would strongly advise your trying the stage." 

"I have anticipated you," answered the young artist, 
and that was the end of journalism and the beginning 
of a stage career for John Barrymore. 

This sad story of the child of an actor striving for 
better things, as it were, and its most unhappy ending 
for such, worthy ambitions, is illustrative of a deep- 
seated instinct, affliction, inspiration, ambition, call it 
what you will. The children of actors are always actors. 
Once the magic of the make-believe land behind the 
footlights has touched the family tree, any limb may 
go gay; and then you have another actor or actress. 

"IV/fANY a present-day star, like Barrymore, chose an- 
iV - 1 other path for a time, but the glitter and the 
glamour are in the blood. Back they come, for better or 
for worse, praising or blaming the theater, but always 
feeling that here among the backdrops and stage sets, 
the grease paint and the excitement, are their people. 
The theater is not an unkind mother; to all children of 
her blood she offers her gifts of fame and fortune, 
sometimes withheld for a time, for she is a stern 
mother; but merit she recognizezs with wealth beyond 
what can be gained in any other realm. Kings and 
queens are proud to claim the great ones of the stage 
as their friends and favorites. 

The annals of some of the stage families who are now 
working in pictures are long and ancient. The family 

46 



of Joan and Constance Bennett, 
children of Richard Bennett, 
have a record that stretches 
back into the days in the 
sixteenth century, when they 
were a group of strolling play- 
ers. Lupino Lane, amusing 
comic that he is, learned his 
art from parents descended 
from another medieval family 
of strolling players and mimes. 
Every generation has had its 
players, the art being passed 
from one generation to another 
and cherished. 

Other families of famous 

ones may not be able to trace 

such a lineage, but there are 

very many stars who can claim parents and even 

grandparents who trod the boards and made the rafters 

ring. 

An actor, it is well known, may come from people of 
any station in life. All strata of society contribute a 
quota. Professional men, such as doctors, lawyers, 
ministers, college professors, ditch-diggers, trollops, 
saloonkeepers, servants, all may have children who turn 
to the theater to earn its rich rewards. But their chil- 
dren will be actors, it is almost safe to prophesy. 

'"PHE American stage has its aristocracy, with its 
A Barrymores and Drews and Bennetts and many 
others. The circus people have their aristocracy as 
well, and it is a proud one. How many of these fami- 
lies have turned to the films is interesting to see. 

When John Barrymore and Dolores Costello married, 
there was, as all the world knows, the linking of the 
first aristocracy of the stage with the first family of 
the screen. The career of Maurice Costello, brilliant 
first star of the films, is one that began on the stage, 
in stock and in road shows. Maurice Costello played in 
many of those heart-wrenching melodramas of the old 
days, "Human Hearts," "The Night Before Christmas," 
and others, so that he was well known when he went 
into the old Vitagraph studio and made film history. 
Prior to him he knows of no stage folk; but the virus 
was transmitted to his daughters, Dolores and Helene. 
Their father was not particularly anxious to have them 
start a stage career, at least just then, but when the 
two girls went out and got themselves jobs in the 
George White "Scandals," he recognized the urge and let 
them go ahead. 

John Barrymore has behind him a record of three 
generations. His grandmother, of the Drew family, 
on his mother's side, was starred at the age of six in 
London as a child actress. Her daughter, Georgiana 
Drew, and the mother of John, was famous in her 
time, playing with his father, Maurice Barrymore. In- 
cidentally, Joan and Constance Bennett's maternal 
grandmother, Rose Wood, played with them. Now Joan 
is playing with John in the talkie version of "The Sea 
Beast." 

There is no information as to any ancestors that 



You CANT GET 

AWAY From IT 



By ROSALIND SHAFFER 



Maurice Barrymore may have had being on the stage, 
but the surmise is that he had some. The Irish family 
name of Blythe had in it a title, a Lord Barrymore, and 
from this comes the Barrymore name, and the crest of 
the crowned kingsnake which John flies on his yacht. 

Through his mother, Georgiana Drew, Barrymore is 
related to Sidney Drew and John Drew, both of whom 
were famous. Sidney Drew preceded his talented nephew 
into the films, and made, among other things, a series 
of successful domestic comedies with his wife. Lionel 
and Ethel, John's brother and sister, are typical of the 
Barrymore and Drew talent. The daughter of Ethel, 
whose married name was Colt, has shown talent, and it 
is probable that she will succeed to the mantle of the 
Barrymore name. 

When John and his brother Lionel were young men 
they went to Paris to study art. As they ran through 
their money, it was back to America and the stage for 
John, via the newspaper illustrator route. It was a 
quick and easy way to make money and, anyway, the 
boys liked it. Ethel was already established. 

A child of John Barrymore and his wife, Dolores, 
could hardly fail to carry on the dramatic career of such 
talented ancestors. 

CWITCHING back to the Bennett family, composed of 
^ Constance, Joan and Barbara, they possess one of 
the most significant figures in the American theater 
today in their father, Richard Bennett. Their mother 
is Adrienne Morrison, a star in her own right before 





Ruth Roland comes from two generations of theater 
folks. Her grandmother was a Tyrolean yodler and 
her Mother was famed as "the California Nightin- 
gale," an idol of San Francisco. 



she married Bennett. Her father, Lewis Morrison, was 
a noted actor abroad and in America, touring for sev- 
enteen years in Shakespearean plays and as Mephis- 
topheles in "Faust." The Morrisons are descended from 
the old English theatrical family of Wood, who come in 
turn from the Welsh Wodens, traveling troubadours of 
the sixteenth century. 

Another old theatrical family is that of the James 
Gleasons and their son, Russell Gleason. Lucille Web- 
ster Gleason had no forbears in the theater, she mar- 
ried into it. Jim Gleason had as 
his mother, Nina Crolius Gleason, 
a famous stage actress of New 
York and the Pacific Coast. She 
appeared in New York under the 
Frohman banner for some years. 
As soon as she recovers from a 
recent accident she expects to be at 
it again, though she is now sev- 
enty-seven. Her mother was a 
French actress, and her mother 
before her was a famous French 
dancer of her time. Russell Glea- 
son represents the fifth known gen- 
eration in the family of stage folk. 
All three Gleasons are in films now. 
Lupino Lane has grease paint all 
smeared over a long and glorious 
theatrical ancestry. The funny lit- 
tle comic from "The Love Parade" 
claims descent from the oldest the- 
atrical family in the world, the Lu- 

Constance and Joan Bennett with 
their mother, Adrienne Morrison. 
Richard Bennett, their father, is a 
famous theater star and Adrienne 
Morrison was a popular actress, the 
daughter of Lewis Morrison, a road 
star of other days. 

47 



Why Do Children of Actors Always Become Actors? 




Mitzi Green, the screen child film 

and Rosie Green, the long popul 

appeared with her parents 



pinos. The family was 
originally Italian, pan- 
tomimists who came to 
England three hundred 
years ago, after a two- 
hundred-year-old stage 
ancestry in Italy. Chev- 
alier Georgius Lupino 
brought the first pup- 
pet show to England, 
the old favorite, Punch 
and Judy, and the 
amazement of the Brit- 
ishers, beguiled from 
their maypoles and 
bowling on the green, 
must have been ter- 
rific, for the family 
stayed and prospered. 
In this generation there 
is Lupino Lane, his 
brother, Wallace Lu- 
pino, his foil in pic- 
tures, and three cous- 
ins, Stanley Lupino, 
who is starring in 
London, Mark, famous 
in the Colonies, and 
Barry Lupino, who has 
been featured in the 
New York musical shows. 

Lupino's real name is Harry Lupino, not Lupino 
Lane, and thereby hangs a tale. On his mother's side, 
the family of Lane were eminent as managers and 
producers. Most famous among these was Mrs. Sarah 
Lane, proprietress of the famous old Britannia The- 
ater in London and one of England's greatest actresses 
in her heyday. Such great actors as Sir Henry Irving 
and Beerbohm Tree appeared with her. She enacted 
tragedy roles up to the time of her death in August, 
1899, at the age of seventy-seven. 

It was out of favor to this grandmother that Harry 
Lupino became Lupino Lane. "There are plenty of 
Lupinos, but few Lanes," she said. His father was 
willing, but the proud old Grandfather Lupino could 
not see why Lupino was not a good enough name for 
any male member of the family. However, he took 
the name Lane. All of his trick dancing, falls and 
eccentric comedy were taught him by his father, and he 
was such an adept pu- 
pil that he was billed 
as a child as Master 
Harry Lupino. 

A NY stage ancestry 
•^*- after this one is 
something of a let- 
down. However, turn- 
ing to the case of 
Douglas Fairbanks and 
his son, we find a case 
where the father much 
preferred the son to 
delay his dramatic ca- 
reer until he was a lit- 
tle older. As it was, 
Doug, Jr., began on his 
own at the age of fif- 
teen, in "Stephen Steps 
Out." Doug, Jr. had 
wished to be an artist 
and had studied in 
Paris, but due to finan- 
cial reverses of his 
mother's, he accepted 
the offer from films to 
make the picture men- 

48 



star, with her parents, Joe Keno 
ar vaudeville team. Little Mitzi 
and as a variety "single." 



tioned. It was such a 
ready source of revenue 
that the boy continued, 
though his avocations 
are also drawing and 
writing. Once more 
the alma mater of all 
actors' children had 
offered aid at a critical 
time and another dra- 
matic career had be- 
gun. 

Marilyn Miller is the 
child of a stage family 
and the stepchild of 
another. Her mother 
divorced her father, 
named Lyn Reynolds, 
when Marilyn was a 
child, and went with a 
theatrical company, la- 
ter marrying Caro Mil- 
ler, the leading man. 
At five, Marilyn was 
with her mother, step- 
father and two older 
sisters billed as one of 
"The Five Columbias." 
She was billed as Mile. 
Sugar Plum and did 
family atmosphere of 




dancing. She grew up in a 
things theatrical. 

John Gilbert comes of a pair of theatrical parents, 
celebrities in their day. His father, John Pringle, was 
a handsome leading man in stock, and his mother, Ada 
Adair, was a talented and beautiful actress who played 
opposite John's father at one time. John, too, essayed 
something else than the theater, but came back to it 
when he joined the Baker Stock Company, in Spokane, 
Washington. As a child of one year he played with 
Eddie Foy. Later years saw him attempting success 
as a rubber salesman and as a reporter on The Portland 
Oregonian, after the Baker company went broke, but he 
was itching to get back to the theater, and finally com- 
promised with going to work as an extra for Tom Ince. 
After rising to leads in films, he digressed to write and 
direct, but always he went back to acting. He stifled 
his higher emotions in gold and grease paint. 

Another child born in a theatrical trunk is Eddie 

Quillen, whose father, 
Joseph Quillen, was a 
noted comic. Eddie is 
one of nine children, 
all in the racket. His 
father managed five of 
them in their own act, 
Now it's all pictures at 
Quillen's and every- 
body works but father, 
and he worries. 

The names of Rudolf 
and Josef Schildkraut 
are known the length 
and breadth of the 
(Contin'd on page 114) 

James and Lucille Glea- 
son, with their son, Rus- 
sell. Jim Gleason comes 
of a stage family. In fact, 
Jim's mother, Nina Glea- 
son, is still acting, at 
seventy-seven. Russell 
Gleason represents the 
fifth generation of a 
noted stage family. 




Photograph by Otto Dyar 

CLARA The new — and sylph-like Clara — with her newest pet, Duke, a great Dane. Duke goes 

BOW everywhere with Miss Bow, past no admittance signs and into sound stages where no one 

ever enters save a star or a director. 



49 




Photograph by Don English 

Introducing Mitzi Green, the first child star of the talkies. Mitzi grew up in the theater, her parents being 
known to vaudeville as Keno and Green. She used to go on with her father and mother and do kid imper- 
sonations. Now, a film luminary, she is exactly nine years old. 



50 



The 

PENALTY 

of 

BEAUTY 

BY GEORGE CHAPIN 



AT sixteen she was just another girl selling hair- 

/\ pins. 
/ \ She was happy. 

At nineteen she was "Miss America." Judged, 
at the Atlantic City Beauty Pageant, the girl most 
beautiful of face and form in the entire United States. 

After that she was unhappy. 

At twenty-four she is just another stenographer in 
Hollywood. 

Now Fay Lanphier is happy again. 

The lot of others always seems to be the most for- 
tunate. No doubt many a girl envied the gorgeous 
Fay Lanphier, perfectly gowned, as she was hailed the 



Fay Lanphier, in 1925, 
when she was voted 
Miss America, the most 
beautiful girl in these 
United States. She was 
nineteen and weighed 
128 pounds. 






Fay Lanphier as she is today, weight 157 pounds. She is 

just one of hundreds of stenographers in a Hollywood 

studio — but she is happy. 



most beautiful girl of the year. No doubt they saw 
pictures and read accounts of her going from place to 
place in a luxurious Rolls-Royce — and wished that they 
could but change places with her. That they might be 
given all the attentions which were showered upon Fay 
Lanphier, that they might enjoy the sensation of hav- 
ing rich and handsome men contest for the honor of 
taking them to dinner, the opera, and a night club. 

They no doubt thought that if they could have these 
things they would be happy and content. So did Fay 
Lanphier. 

But she found out otherwise. That is why she delib- 
erately set out "not to be a beauty." And worked at 
it just as hard as do thousands of other girls who slave 
and punish themselves that they may have one small 
part of the beauty this girl is trying to erase. 

"T PUT on weight," she said. "And although I never 
-*- did use much makeup I stopped using it altogether. 
I wanted to be plain, to be able to fade into a crowd and 
never be noticed. 

"Those days when I was 'Miss America' — they were 
nice in one way — but I was never happy. Something 
was always bothering me, causing me to worry. 

"I wondered about getting a picture contract, and 
then worried about making good when I did. I flopped. 
And found out that I did not want to be a picture star 
and that no one else wanted me to be one either. The 
one picture I made, 'The American Venus,' made a star 
out of Esther Ralston, but it was a heartbreak to me. 
I had nothing to do in it and doubt if I could have done 
anything had the part I played {Continued on page 128) 



Fay Lanphier deliberately gave up 

the pursuit of beauty for comfort 

and happiness 

51 



HOME TOWN 

STORIES of the STARS 



YOUTH has the habit of 
making predictions. 
A tall, dark-eyed boy and 
a slim, golden-haired girl met 
at a musicale in Minneapolis eight- 
een years ago. They appraised 
each other critically, and sat apart 
when tea was served. 

Handsome Ernest Brimmer, of 
St. Paul, gave dramatic readings, 
and comely Edith Day's voice al- 
ready had won her the adulations of 
Minneapolis. Their hostess intro- 
duced them to the other guests as 
"two young persons of exceptional 
dramatic and musical ability." She 
divined brilliant futures for them. 
The dapper young man, so the 
story goes, threw his very soul into 
his recital that afternoon. The ap- 
plause was inspiring, reassuring. 
But he didn't observe the mocking 
smile of the pretty young singer as 
she floated towards the grand piano. 
She sang like a lark, and flushed ex- 
ultantly at the plaudits. Her eyes 
saw far beyond the face of a cer- 
tain, in fact, the only male in the 
drawing-room. His upper lip was 
almost touching the tip of his nose. 
Bored? Well, Ernest was on the 
defensive. 




"T THINK Mr. Brimmer recites. 
-*- very well — so dramatic, so 
much fire," ventured the hostess while chatting with the 
fledgling songbird. 

"Why, I think he is just terrible," the girl replied. 
Her feathers were ruffled. 

Somewhat taken aback the dear woman approached 
the St. Paul boy on the subject of sweet young sopranos. 
One in particular. 



Ernest Brimmer (now Richard Dix) at 
the age of eleven was the delivery 
boy for Kessler's grocery store in St. 
Paul — and, at that, pretty much of a 
trial for Old Man Kessler. 




"Miss Day has a lovely voice, and 
she is so pretty." 

"Oh, yes, she's cute in her way," 
he admitted. Then impetuously: 
"But she'll never amount to any- 
thing." 

That was in 1912. Today that 
"terrible" dramatic reader of the 
peg-top trouser era is one of the 
"best sellers" in the motion picture 
world. He is known to millions of 
movie patrons as Richard Dix. In- 
cidentally, Miss Day did very well. 
In her "cute" way she won fame as 
the original "Irene" in the musical 
comedy of that name. 

Let Hollywood and cinema audi- 
ences know the square-jawed, 
straight-as-an-Indian screen star as 
Richard Dix, but back in St. Paul, 
his home town, he is known as 
"Pete" Brimmer. Just plain "Pete" 
to his boyhood pals. None of the 
old gang remembers just how he 
came by the nickname. It doesn't 
matter, anyhow. Most of the men, 
who as youngsters comprised the 
St. Anthony Park gang, have, like 
"Pete" Brimmer, sought fame and 
fortune outside the Twin Cities. 
Yet, one of the motion picture ac- 
tor's closest friends still lives in St. 
Anthony Park. He is William Grant 
Gray and his home is but a short 
distance from 1208 Raymond Av- 
enue where Brimmer was born, July 18, 1896. 

The house still stands. "Pete" and Grant inspected 
it last summer when Brimmer spent a week in St. Paul. 
The apple tree in the yard was bearing fruit, but it was 
a taller tree than when "Pete" last plucked a green 
apple from it. 

No one, except Dix himself, knows more about the 
boyhood of "Pete" Brimmer than Mr. 
Gray. He and "Pete" fished and swam 
and fought and worked together in 
the magic days. Assuming the role of 
biographer Mr. Gray recounted the 
high spots of Dix's youth. He con- 
fessed that he was "holding out a bit," 
but his word picture was enough to 
show that Brimmer's early life was 
that of a normal, red-blooded Ameri- 
can boy. Biographer Gray began by 
disclosing the actor's stage name was 
devised and used many years before 
"Pete" gave serious thought to a the- 
atrical career. 
Our gang de- 
cided to raid 
one of the ag- 
ricultural col- 
lege apple or- 
chards. (The 
University of 
Minnesota Col- 
lege of Agri- 
culture is in St. 
Anthony 



Former playmates of 
Ernest Brimmer re- 
member him as a 
" regular fatty." Here 
you will learn how he 
first hurriedly adopted 
the name of Richard 
Dix, under the ques- 
tioning of a policeman. 



52 



How "Pete" Brimmer Grew 

Up to be Richard Dix — and 

the Idol of St. Paul 

By CHARLES W. MOORE 

of the 
St. Paul Pioneer Press 



Park.) The fruit was good — scientifically 
propagated, you know. 'Pete' was one of the 
first to crawl over the fence into the orchard. 
We were having a swell time disposing of the 
spoils when out of the gloom a huge figure 
waddled toward us. It was Ole Hanson. ( Ole 
was and still is the limb of the law in the dis- 
trict.) We were caught red-handed. One or 
two of the gang got away, but Ole herded the 
rest together and started asking questions. 
He wanted our names. Ole knew every moth- 
er's son of us in daylight, but the orchard 
was dark. The first boy gave a fictitious 
name. So did the next and on down the line 
until it was 'Pete's' turn. 

"I'll never forget him. He stood there 
calmly chewing on a niched apple. He 
smacked his lips. 'My name's Richard Dix,' 
he told Ole, and sauntered away as if the fat 
old copper had caught the chief of police him- 
self. I guess nothing ever came of that es- 
capade, except that we were watched very 
closely from then on by college authorities. 
'Pete' used the name Richard Dix many times 
afterward. The gang got used to it. 




Richard Dix always had a flare for reciting. He played roles in the 
various student shows of the Central High School and, after graduation, 
overrode parental objections and turned to the stage as a profession. 



" 'Pete' was pretty husky when he was a kid. He- 



"Oh, he was a regular fatty." This from Mrs. Gray. 
As the sister of Harold "Clemy" Clemons, one of Brim- 
mer's pals, she remembers "Pete" vividly. 

"No, he wasn't dear." 

"Well, I guess my memory is pretty clear. 'Pete' was 
pudgy and sort of awkward when he was eleven or 
twelve years old. I knew him pretty well. 

"One summer before he entered Central High School 
'Pete' was delivery boy for Kessler's grocery store. The 
groceries were 
transpoi'ted in 
an old rickety 
wagon drawn 
by an aged 
grey mare. 
'Clemy' was 
the assistant 
helper. 'Pete' 
and unpaid 
would wait un- 



At the right, the 
house at No. 
1208 Raymond 
Avenue, St. Paul, 
where Richard 
Dix was born in 
1896. It still 
stands. In the 
yard is the same 
apple tree that 
Dix, as little 
"Pete" Brimmer, 
used to climb 
forgreenapples. 




til the wagon was jammed full of orders before starting 
on a delivery trip. Old Man Kessler's hardest work was 
finding 'Pete' when the load was ready. The first stop 
every morning was in front of our house. The stop was 
always made whether or not my mother had ordered 
food. 'Pete' was there to get my brother. 

"Morning after morning (until young Brimmer lost 
his job) the indolent young upstart would sit out in 
front and shout: 'Clemy, oh Clemy!' His voice was 
monotonous. 'Clemy' usually was in bed and he'd come 

downstairs and 
eat breakfast 
before joining 
'Pete.' Some- 
times it was an 
hour before 
they would get 
started. Mean- 
while, neigh- 
borhood house- 
wives were 
waiting for 
their groceries. 
"Whenever 
'Pete' had an 
order for us he 
would leave 
everything but 
one item out- 
side the door. 
Then he would 
knock, walk in- 
to the kitchen 
and s t u m ble 
purposely. 
Whatever was 

(Continued 
on page 118) 

53 




By 

HERB 

HOWE 



A Hollywood extra leaves home for the day's work. Extras stagger from dugout 

to dugout these days. During the last few years, says Herb Howe, the World 

War has become Hollywood's leading industry. 



"A 1 



LL QUIET ON THE WESTERN FRONT" will 
not end war, but it should end war pictures, 
a boon almost as great. 
The armistice was signed twelve years ago, 
but our Hollywood boys are still in the trenches. They 
stagger from dugout to dugout, going nutty. Indeed, 
I'm safe in saying — my passport in paw — that there's 
scarcely a Hollywood actor who hasn't gone nuts. All 
cases are not due to shell shock; nevertheless, I see no 
reason to stimulate a natural aptitude artificially. Hol- 
lywood is trying enough on one's sanity without having 
it imitate Verdun day and night. During the last few 
years the World War has become our leading industry. 
There is more acreage seeded to shells than to citrus. 
However, I foresee a sharp return to normal conditions. 
(That should be in quotes, but I don't know who 
said it first.) 

"J LL QUIET ON THE WESTERN FRONT" leaves 
SI nothing more to be said. It's the straight stuff, 
genuine as Pilsener, unneedled by the go-goofy tonic of 
romance and glory. The Boulevardier's business is not 
reviewing pictures. (Never mind what it is, it beats 
work.) But this is not a picture, it is the war itself. 
As one who dipped a beak in French mud, I know the 

54 



flavor. Old patriotic pusses who 
prefer the gin and orange juice 
of delusion may not enjoy it; 
nevertheless let them plunge the 
proboscis for an evening. It 
may save them knitting them- 
selves nuts through another 
war. It may even prevent them 
— silly hope — from tossing the 
word "Red" as carelessly as 
"Boche," stay them from baiting 
Russia on hearsay for "religious 
persecutions," lessen their zeal 
in fattening little boys for 
another big devil stew. 

(~)UT of the mud of this pic- 
^- , ture arises the most sensi- 
tive face I've seen. Through 
the shrieking, quivering, whim- 
pering screen crashes a new 
star. Mr. Lew Ayres. Not since 
I saw Charles Ray in "The 
Coward" and Richard Barthel- 
mess in "For Valor" have I 
pounded the drum of "discov- 
ery" with such assurance. The 
Boulevardier's boutonniere for 
the month goes to Lew's lapel. 

P'OURTEEN years ago Ju- 
A lian Johnson heralded 
Charles Ray "Ince's Wonder 
Boy." I might be tempted to 
swipe the title and call Lew 
"Laemmle's Wonder Boy" were 
it not for the ludicrous fact that 
he and producer "Junior" Carl 
Laemmle are the same age, 
twenty-one. 

"Uncle" Carl Laemmle, a loved 
character of the film world, 
gave son Carl Jr., the Universal 
studio to play with. Offered 
eighty million for the property, Uncle Carl said: "No, 
Junior thinks he'd like to have it, and so I guess I'll 
let him play with it." 

J WAS at Buddy Rogers' home in Beverly Hills the 
*■ other night. He recently bought a house on Bedford 
Drive, tvhich he shared with his dad and mother. He 
played, me his two phonograph records which he had 
just received. 

"I take your word for it," I said, "but the voice 
doesn't sound like yours." 

For that matter Buddy's voice off screen is utterly 
different from on; the victrola reproduces still a differ- 
ent one. Buddy is a vocal Chaney. 

"DUDDY gets three cents for every one of his records 
■*-* sold. I need not urge the sisters of my congregation 
to buy until it hurts. Buddy must be kept. 

Buddy's personality differs from the one on the 
screen as much as his voice differs from the talkie. He 
is taller, more mature. There is not the pop-eyed puppy 
eagerness. On the screen he wears a white make-up; 
off the screen he has a tanned olive skin and — on occa- 
sion — a stubble of beard as black as Harold Lloyd's. He 
reminds me of Harold in other ways. He speaks to you 



The HOLLYWOOD 
BOULEVARDIER 



Tries to Get Hollywood Out of the 
Trenches — Discovers Young Lew 
Ayres — Visits Buddy Rogers and 
Writes About Doug Fairbanks, Senior. 



in the same hushed 
confidential tones. He 
also deprecates him- 
self. He's careful 
about what he says 
since an interview 
quoted him saying he 
received more letters 
than Valentino. 

"What the Valentino fans wrote me, oh boy!" Buddy 
shudders. It's ironical but a fact that the dead Val- 
entino is more popular than any living star. 

r T y HE reason everybody is getting by as a singer in the 
•*■ talkies is that before the talkies we never knew that 
was singing. 

'"pHE other morning, while I was in my bath, Jeanette 
•*- MacDonald started singing in the next room. I 
didn't know my colored boy had been fumbling with the 
phonograph. It is rather startling, to say the least, to 
hear a girl's familiar voice singing "The Love Parade" 
at you in your shower. I mean to say the heart may 
start pounding, and you are liable to slip on the soap 
reaching hastily for the bathrobe. It was a Victor 
record, of course, for Jeanette does not broadcast in the 

bathing hour. When tele- 
vision permits her to do 
so, I shall become a friend 
of radioland. 



DOUG FAIR- 
BANKS, JR., 

says his father is pri- 
marily an actor. All 
actors are primarily 
actors. I once asked 
Florence D e s h o n , 
then close friend of 
Charlie Chaplin, if Charlie really was a Socialist, a Com- 
munist. 

"Charlie a Socialist, a Communist? . . . Charlie's an 
actor," said Florence with a gentle smile. 

I recall an afternoon at the studio when Doug Fair- 
banks, Sr., was worrying about Doug Jr., becoming an 
actor. 

"I'd like to send him to college, get him away from 
Hollywood," said Doug Sr. "I'm afraid if he hangs 
around here he'll become an actor. I hate actors, don't 
you?" 

A smile was my only reply — on advice of counsel. 
"I'm not an actor," said Doug quickly. "Charlie 
Chaplin is." 

T^OUG FAIRBANKS, SR., is one of the few actors 
*^* who does not disappoint off screen. He transmits 
the same enormous energy and exuberance. Most actors 
like to pose as something different than their screen 
selves. Na'ive, they go sophisticate and talk women. 
Roues, they act like swooning saints and cry a little. 
In a word, actors act harder off screen than on. Doug 
doesn't. He plays himself {Continued on page 97) 



Two gobs looking wistful in Hollywood. They take their movies 
seriously and are looking for Clara Bow, the sweetheart of the navy. 








Sill \ M/U^\ 



DRAWINGS BY 

KEN 
CHAMBERLAIN 



.5.5 



BANQUET 

PATTER 

BY 

HOMER 
CROY 




Louise 
e n d a 
opened her 
eyes and put on 
her make-up for the first time, they 
told her the place was Lafayette, In- 
diana, and the date June 17, 1895. 
"Personally, I do not remember it," she 
says frankly. "All I know about it is hear- 
say." 
That is her real name ; her family is Italian and, 
back in sunny Italy, Fazenda means "farmer." 
She did not remain long in Lafayette, for, when she 
was three months old, she left Lafayette and went to 
Los Angeles, California. This, of course, was with the 
help of her parents. 

The family did not have a great deal of money and 
Louise had to go out where money was and help bring 
it back. She got a job in a candy factory and became 
a chocolate dipper. Here, day after day, Louise worked, 
dipping chocolates and dreaming of grease-paint. 

She also taught a Sunday School class, and while 
teaching this class got a job briefly with Mack Sennett 
as one of his bathing beauties. Sunday morning she 
would teach her Sunday School class and Monday morn- 
ing she would put on a smile and a bathing suit that 
could be sent through the mail to Guam for a six-cent 
stamp, and kick up her heels in front of the camera. 



I shudder to think what would have happened if her 
Sunday School superintendent should have wandered 
into the Bijou some Saturday night and have seen his 
Sunday School teacher come galloping out on the screen 
in a smile and a bathing suit about as big as a pen-wiper. 

After a time, Louise took off the bathing suit, put it 
carefully away in a pill-box, skinned back her hair and 
became a comedienne. 

Yes, boys, she is married. Hal Wallis, one of the big 
shots at First National, saw her, took her out riding in a 
rubber-tired buggy and gave her a bag of chocolates in 
the moonlight. The old chocolate urge came over her, 
she could not resist, and when the census taker called 
at 5402 West Ninth Street, Hollywood, and asked her 
what her business was she had to answer "Housewife." 

So hooray ! for the little chocolate dipper who turned 
out to be one of the best comediennes on the screen. 

J£EN MAYNARD: My friends, we have come to a 
place in our program this evening which you ought 
to remember all the rest of your lives. I am now going 
to introduce to you a cowboy actor who is a real cowboy, 
and never bought anything in a drug store in his life ex- 
cept silver polish for his spurs. KEN MAYNARD, stand 
up, you bean pole, and let the ladies and gentlemen rest 
their eyes on you. 

Ken Maynard made his first appearance in the saddle 
July 21, 1895, at Mission, Texas, and has been riding 
ever since. 

The most wonderful thing that could happen to any- 
body in the whole world happened to him — ask any boy. 
His father gave him a saddle, he began to practice fancy 
riding — and became chief rider for Barnum and Bailey 
and Ringling Brothers' Circus. If that isn't success, I 
don't know what is ! 



WE HAVE WITH US 



56 



Reading around the banquet 
lable from left to right: Ra- 
mon Novarro, Lew Ayres, 
Louise Fazenda, Mr. Croy, 
Ken Maynard, Norma Shearer 
and Edmund Lowe. 







But Kenneth (that's the name he was born 
with — think of a cowboy being named Kenneth!) 
has more on his rope than a double flying-loop, for he 
also went to an engineering school and was graduated 
with the degree of "civil engineer." 

He was such a real bona fide cowboy that, in 1920 in 
Chicago, he won the world's championship for trick 
riding and roping. So when you see him climb into a 
saddle you can know that you're going to see something 
to talk about when you get home. 

However, he is only a cowboy on the stage. He would 
no more think of putting on a ten-gallon hat and a pair 
of spurs and swanking down Hollywood Boulevard than 
a Scotchman would think of treating his Sunday School 
class to double deck ice-cream cones. 

He has been married five years and has a Wright 
Whirlwind airplane and a pilot's license. 

T^DMUND LOWE: Ladies and gentlemen, if you will 
*-* remain seated I will introduce another speaker to 
you. He is none other than EDMUND LOWE. Now 
aren't you glad you stayed? 

Edmund opened his eyes and yelled defiance into Vic- 
tor McLaglan's face for the first time on March 3, 1892. 
The place was San Jose, California. 

Edmund was smart in school, his career upsetting 
the idea that the boy who stands at the head of his 
class will never get any further in life than a white 
apron behind a soda fountain. 

Edmund ran to brains (this was before he had the 
mustache) and took every scholarship prize that came 
along. He graduated at High School and then went to 
Santa Clara University and finished there at the age 
of eighteen with the degree of Bachelor of Arts. Not 
content with this he kept right on going to college and 



finally walked off with 
the degree of Master of 
Arts. Pretty good for Sergeant 
Quirt, n'est ce pas? 

But all the time he was bent over 
his books he was dreaming of grease 
paint, and once you get the smell of grease 
paint in your nostrils you're ruined for life. 
He came down to Los Angeles and got a job 
play actin' in a stock company, and pretty soon 
Broadway said, "Come East, young man," and Ed- 
die came. When he returned he was a star with 
his name on a dotted line. 

The most remarkable thing about Edmund Lowe is 
something you never see in the papers. It's his ranch. 
He's as proud of it as he was of his first degree. It's 
at Skyland, in the Santa Cruz Mountains, and is con- 
sidered one of the finest grape ranches in that 
tion of California. He produces tons of grapes. 

What happens to those grapes? Nobody knows, 
only thing we know is that when next year rolls around 
he's plumb out of grapes. 

Now can you understand why people fight in the 
street to get a week-end invitation to the Santa Cruz 
Mountains? 

Stand up, Edmund Lowe, and tell us about them 
grapes. ( Continued on page 132) 



sec- 



The 



TONIGHT 



DRAWING BY HERB ROTH 

Homer Croy Presides at Another 
New Movie Magazine Banquet 



57 



DOLLAR 
THOUGHTS 



The New Movie Magazine Readers 

Express Their Opinions of Film Plays 

and Players — and This Monthly 



Too Good to Be 
True 

Alameda, Calif. 

The magazine with 
a personality ! That is 
a full description of 
this amazing NEW 
Movie Magazine. It 
has IT — to say 
nothing of "them" 
and "those." When I 
hear that a new issue 
is out I hotfoot it to 
get my copy. Once I 
get started looking at 
the pictures and read- 
ing the clever "write- 
ups" I never stop un- 
til I have finished the 
book. And to think 
— all this joy for one 
thin dime! It is al- 
most too good to be true, isn't it? 

M. Vigen, 
1533 Mozart Street. 

A Word for Ruth 

Bronx, N. Y. 

Hollywood, the haven of the best producers and direc- 
tors. But, what is the matter with these great men? 
They are supposed to recognize talent, to glorify it, and 
yet, out there in Hollywood is the greatest actress 
America has ever had, Ruth Chatterton, and she is 
barely appreciated. Actresses who do not possess half 
of her ability are placed on a pedestal, admired and a 
great fuss is made over them. Give a little more credit 
to Ruth Chatterton. 

E. McPartland, 
2351 Grand Concourse. 

Speaks with Authority 

London, Canada. 

Yours is the first magazine of the movies which 
tempts me not to miss a copy. The price, of course, is 
attractive, but the quality of stories and pictures is 
decidedly the best in this class of magazine. 

I particularly liked the story of Mary Pickford by 
Miss St. Johns, with its overtone far above the usual. 
Your stories have a sane authoritativeness that is 
convincing as well as entertaining. 

Amy E. Thorburn, 
8 The St. George Apts. 

The One Movie Magazine 

St. Louis, Mo. 

Have just been reading the latest issue of your won- 
derful magazine. Have enjoyed all of the numbers so 
far, and cannot wait for the next to appear. It is the 
only movie magazine I am buying now and I used to 
buy almost all of the film publications every month. 
The New Movie Magazine contains all of the news, 
pictures and reviews essential for the readers to know 
just what is going on in the motion picture world. In 
addition, I like the recipes, beauty articles and cartoons. 
Mr. Hyland's articles are an especially good part of your 
magazine. 

Angeline Frockman, 
573 Paul Brown Bldg. 

The Greatest 10-Cent Bargain 

Toledo, Ohio 

A cozy chair, a soft breeze, 
and a New Movie Magazine — ■ 
that's real comfort. This month- 
ly, with its hosts of remarkable 
stories, vivid interviews, start- 
ling confessions, screen reviews, 
countless pictures of screen 
favorites, and numerous other 
comments and details on filmland 
is certainly the greatest 10-cent 



my New Movie book. 



THE NEW MOVIE MAGAZINE pays one 
dollar for every interesting and con- 
structive letter published. Address your 
communications to A-Dollar-for-Your- 
Thoughts, THE NEW MOVIE MAGAZINE, 
55 Fifth Avenue, New York City. 



bargain in existence. 

Myldred Erd, 
1019 Moore Street. 

Helped Give a 
Party 

Gloucester, Mass. 

Writing to you and 
telling you how much 
your New Movie 
Magazine helped me. 
I read about Lillian 
Roth's Buffet Lun- 
cheon, so I had a party 
and tried the same 
menu. We all had a 
great time and the 
party went over great. 
Now whenever I want 
to know how to plan a 
party or wedding or 
shower all I have to 
do is to look through 
Of course I get them every month. 
Jeanine Capillo, 
7 Marshfield Street. 
Tip-Top 
Huntington, W. Va. 

Hurrah for The New Movie ! A tip-top magazine at 
rock-bottom price! How can you do it? But anyhow 
I am glad you do do it — for I love The New Movie, 
and it fits my meagre purse in price and fills my big 
hungry heart that cries for movie news. 

Mary Harvel Kerns, 
1308 10th Avenue. 

Wants Her Photograph 

Detroit, Michigan 

I wish to write about something which has been on 
my mind for a long time and is puzzling me. 

Why don't Buddy Rogers' studio secretaries, or who- 
ever they are that take care of his mail, take better 
care of all of the letters which he receives? 

I am referring to an incident which happened to me 
while Buddy was making a personal appearance at one 
of our theatres. 

I sent a letter requesting a photograph and I enclosed 
a coin with which to help defray expenses. A short 
time later I received a card telling me in a very nice 
way that the money was forwarded to the studio and 
my request would be taken care of. 

Well, it's over six months now and I doubt if I'll ever 
receive that photo. 

Anna Maceopa, 
3410 Leuschner Ave. 

15 Miles to Get Her Copy 

Wellesley Hills, Mass. 

Upon reading one number of your magazine I imme- 
diately became a New Movie fan, and when I heard 
there was another number out, I spent the whole day 
searching for a store that was not "sold out." I eventu- 
ally had to travel fifteen miles out of town to get my 
copy, but it was well worth the effort. 

If you will get Miss Rogers St. Johns to give us an 
interview with that delightful exponent of poise and 
suavity, Mr. Clive Brook, I would willingly travel fifty 
miles out of town for a copy of the magazine. 

Alice Louise Cowlard, 
199 Worcester Street. 

Suggestion to Producers 

Canton, Ohio 

I feel the same as many other 
fan people do. I think the list 
of characters should be shown at 
the end of the picture also: 
When the long list is shown at 
the beginning it is impossible to 
remember who takes some of 
the minor parts. Often one is 
{Continued on page 104) 



58 




Photograph by Hurrell 



STANLEY SMITH 



59 




Photograph by Hurrell 



BESSIE LOVE 



60 




LILLIAN ROTH 



61 




Another 
STAR 
from 
ABROAD 



Early next fall Samuel 
Goldwyn will present 
Evelyn Laye in a musical 
film. Miss Laye recently 
starred on Broadway in 
the musical comedy, "Bitter 
Sweet." 

Miss Laye grew up in the 
theater. Her father was 
an English actor and stage 
manager. She has played 
in all sorts of footlight 
entertainment: melodrama, 
comedy, pantomime, revue 
and operetta. She became 
a London idol, following 
her hit in "Madame Pomp- 
adour." Since that she has 
played in a revival of "The 
Dollar Princess," in "Prin- 
cess Charming," "Lilac 
Time" and in "The New 
Moon." She is unusually 
pretty and possesses a 
voice of distinct loveliness, 
all of which indicate high 
possibilities for her on the 
sound screen. 



Photograph by 

Edward Thayer Monroe 



62 







■■■■■■■■ 
LAURA LA PLANTE 



Photograph by \V. F. Seely 




Photograph by Otto Dy< 



NANCY CARROLL 



64 



Years ago, when David Belasco starred Mary 
Pickford in the fanciful "A Good' Little Devil," 
Lillian Gish appeared in the minor role of a 
good fairy. The other day, however, Miss 
Gish returned to the speaking stage in New 
York. Her reception was remarkable. 

Miss Gish came back in "Uncle Vanya," a 
comedy by the Russian, Chekhov. She had 
the role of Helena. Of her, Robert Littell 
said in The New York World : "She is not 
quite like any other actress I have ever seen, 
with a lovely repose and certainty, a combi- 
nation of delicate shades and pastel dignity 
which make \js realize how great the 
screen's gain has been all these years, to 
our loss/ 

No announcement has been made of Miss 
Gish's possible return to the films. The two 
portraits on this page show Miss Gish as 
Helena in "Uncle Vanya." 



LILLIAN 

GISH 



Turns to the 



FOOTLIGHTS 





Photograph by Elmer Fryer 



caught !Se% a e 9 of D H or;v y Co e hn e who en ^ "t^T** Va ' er9 °' d ° nCed at Tait ' S ,n S ° n FrancisC °- Her loveliness 
caught eye of Harry Cohn, who s.gned her for the movies. Dorothy, half English half Italian, was the daughter 

ot a musician father and an opera singer mother. 



66 




Photograph by William A. Fraker 

Dorothy Revier's face was famous to thousands of movie fans who never knew her name. She played in small pro- 
ductions from Poverty Row— and her publicity was practically infinitesimal. 

Up From Poverty Row 

For Two Years Dorothy Revier was a Hollywood Star, Without 
Moviedom Knowing Much About It 

By Dick Hyland 



THIS story probably has a proper opening, but I 
am not going to bother about where it is. The 
story in itself is enough. 

It concerns Dorothy Revier, the former Queen 
of Poverty Row. The girl whose face is so much better 
known than her name. 

Some years ago, when I was a freshman in college, a 
group of Stanfordites trekked regularly to San Fran- 
cisco. Many sons of the Stanford Red did that. But 
not for the same reason. They, poor youths, did not 
know about Dorothy Revier. 

We went to Tail's Cafe, which was just about the 
snootiest place in the city by the Golden Gate, and, for 
that reason, perhaps a bit off the beaten path of the col- 
legiate. It used to mean — to some of us — saving those 
nickels and dimes rather carefully. 

A T certain times during the evening the lights were 
•** dimmed, a spotlight thrown upon the dance floor, 
and into that circle of light would float a vision. No 



less. Full head of hair settling softly about her shoul- 
ders, a form that would make a sculptor's hands itch to 
get at his tools, features which bore the classic stamp 
of Old Italy. A gliding grace that convinced you she 
could dance upon eggshells without cracking them. 

That was Dorothy Revier. 

She worked in the midst of beauty, of riches. Every- 
thing was fine and clean and leisurely. Tait's was the 
highest-priced place in San Francisco, and no one went 
there who did not spend money. Money was something 
few — unless they were like we were — ever thought 
about. Remember that background a few paragraphs 
further on in the story. 

While Dorothy Revier was dancing before us we 
were silent. But in between times we talked — about 
her. We wondered where she lived, what kind of a girl 
she was. We wondered if she would sit with us if we 
sent her a note. We wondered lots of things, as is the 
habit of freshmen when looking at someone like Dorothy 
Revier. Finally we met her. {Continued on page 130) 

67 




Buddy Rogers now has his whole family with him in Beverly Hills. His father sold his newspaper property 

in Olathe, Kansas, and moved westward with Mamma Rogers and Buddy's brother, Bert. Buddy has his 

family installed in a new house of light tan stucco. Above, the new house with Buddy in front. 




At the left, the main hallway of Buddy's house. 
At the front of the stairs is an old white, red and 
gray Mexican chest. The beams of the redwood 
ceiling are covered with yellow and brown 
stencil work done by hand. The three pictures 
on the walls are early Spanish prints. An old 
Mexican drape of red and tan hangs from the 
balcony. The floor is deep red title. Walls are 
of rough plaster, finished in a cream color. 



SPECIAL PHOTOGRAPHS 

FOR NEW MOVIE BY 

DON ENGLISH 



The First Published 
Pictures of Buddy 
Rogers' New Home 



The 

Kansas 
BOY 

Who Made 

GOOD 



Comfort is the keynote of the living 
room of Buddy Rogers. The rugs 
are henna and brown colored 
Persian. The armchair by the 
window is covered with a heavy 
tapestry in tan and brown. The 
overstuffed set in the room is cover- 
ed with bright green triple weight 
ribbed silk. An ebony grand piano 
stands near a massive window of 
light orange colored glass. A 
black iron and ruby red glass lamp 
hangs in the middle of the room. 
The only pictures are etchings. 





At the left, Buddy's bed- 
room, featuring light cream 
walls and a tan Chinese rug. 
The bed has no footboard 
and a spread of cream lace 
over tan silk covers the foot. 
The drapes are light orange 
tan brocaded silk. The big 
armchair is covered with 
red leather. The table and 
chest are made of walnut. 



69 



The Home that Youth and a Saxophone Built 




Above, the reunited Rogers family: 
Buddy, Mamma Rogers, Papa Rogers 
and Bert Rogers. At the left, the 
Chinese dining room. The rug is a 
red, blue and black Persian. The 
window drapes are henna, pale blue 
and yellow figured chintz. The table 
is of black walnut. The chairs, bench- 
es, tea table and stools in the room are 
of walnut, figured with hand carved 
poppies. The walls are a pale 
yellow gold and the ceiling is stenciled 
in brown and gold. 




At the right is young Bert Rogers' 
room, adorned with Indian rugs, 
baskets and curios. The bed is of 
light and dark brown walnut. The 
bedspread is of black, brown, brick 
red and gray dyed linen. The lamp 
is of gilt covered wood with a yellow 
ribbed parchment shade. The 
entire room is done in bright colors 
typical of the early Spanish west. 



70 




ROMANCE 



Here are the first published shots from Greta Garbo's 
newest picture, "Romance," based upon Edward 
Sheldon's romantic drama in which Doris Keane 
starred for two seasons in New York and for a 
thousand nights in London. The play is built around 
the concert triumph of an Italian singer, Mme. Rita 
Cavallini, at the Academy of Music in New York in 
the late '60's. One of the big scenes shows the 
Golden Nightingale being drawn by her admirers 
in a carriage down Fifth Avenue to her hotel, the 
old Brevoort. Much of the action of "Romance" 
takes place at No. 58 Fifth Avenue, just across from 
the editorial offices of New Movie. Lewis Stone ap- 
pears opposite Miss Garbo as Cornelius Van Tuyl, a 
wealthy banker of the day and Mme. Cavallini's 
patron. A newcomer, Gavin Gordon, is seen as the 
young rector, Thomas Armstrong. 



The fortunate bride who discovers that her mother's 
bridal gown and veil will create a picturesque 
costume for her journey to the altar, is illustrated 
by June Collyer at the left. (This gown is actually 
the wedding gown of Mrs. Heermance, June's 
mother.) Miss Collyer wears, with intriguing results, 
the hand-made lace gown worn by her mother in 
the early part of fhis century. The fitted lines of 
the gown comply with the modes of the moment. 
Miss Collyer adds a tulle and lace veil, caught in 
an old-fashioned manner with orange-blossoms 
well off her forehead. Elbow length gloves are 
worn and in place of a bouquet she elects to carry 
a beautiful mother of pearl prayer book. 




The midsummer bride might prefer the romance 
of a garden wedding. Virginia Bruce at the right 
illustrates the proper costume for such an effect. 
A youthful frock of pale green net is created with 
a high waist-line, cap sleeves and a semi-bouffant 
skirt. An ofF-the-face hat of the same net is 
stitched into chic contours. An arm bouquet of 
yellow roses is carried, and a single strand of 
pearls is worn. Her slippers are dyed to match 
the hue of the frock. 



72 



HERE 

COMES 

the 

BRIDE 




For the very youthful bride Mary Brian offers a likely 
combination of souffle, lace and apple blossoms. The 
frock, which is delightfully jeune fille, is a piece of delicate 
workmanship, merging silken lace and cream souffle, into 
graceful lines. The veil is a shower of souffle, utilizing a 
band of cream satin to form half of the cap that fits snugly 
over the bride's hair. Clusters of apple blossoms that 
point outward and brush the cheek take the place of the 
usual orange blossoms. A bouquet of apple blossoms 
caught with cascading ribbons is carried. The bride adds 
a triple strand of pearls to her costume. 

When time is short and the wedding takes place in the 
magistrate's office and the next train or boat is caught for 
the honeymoon days, Nancy Carroll, Paramount player, 
offers several chic suggestions. A slim tailleur in bright 
blue tweed is worn. The coat is a belted affair and the 
skirt is slightly circular. A jaunty blouse of egg-shell satin, 
a semi-beret hat in blue belting, a navy suede envelope 
bag and doeskin gloves are also worn. 

73 




Even a bride may elect a 
sophisticated mood for her 
bridal robes this season. Kay 
Francis, upper left, suggests a 
striking manner of wearing a 
tulle veil. The tulle is caught 
over the head, covering the 
forehead in a snug cap effect. 
A second veil is caught under 
the chin, and crushed to meet 
the sides of the cap, thus cover- 
ing the bride in a cloud of 
misty tulle. The gown, which is 
just discernible beneath the 
folds of the veil, is created in 
ivory chiffon, a fitted bodice 
and a trailing skirt of sunburst 
pleating. Shoulder length ivory 
suede gloves are worn and 
Miss Francis carries a sheath 
of Easter lilies. 



A 1930 mode for brides is 
introduced by Jean Arthur, at 
the upper right. Her bridal 
costume is created in steel blue 
with extremely chic effects. 
The gown is an intricately cut 
affair of sheer blue velvet that 
falls from a high waist-line to 
a circular skirt and three-yard 
train. The unadorned tulle 
veil is also in blue, and is caught 
over the head in cap fashion 
without benefit of flowers or 
jewels. Miss Arthur adds 
shoulder length white suede 
gloves, pearls and an armful of 
calia lilies to thecool blue back- 
ground of her bridal costume. 

For the second marriage Lillian 
Roth offers modish hints. The 
costume for the second cere- 
mony should never include a 
trace of the first bridal robes. 
Extreme chic and dignity are 
the qualities to attain for. such 
an occasion. Miss Roth wears 
a softly draped frock of flower- 
ed chiffon, utilizing such shades 
as dusty rose, cornflower blue 
and deep yellow. A large 
horsehair hat of dull rose is 
worn in the new off-the-face- 
manner. A corsage of yellow 
orchids and lilies of the valley 
is worn at the waist. 



74 




MARILYN MILLER 



75 




At the right, Lincoln's 
famous debate with 
Stephen A. Douglas, as 
pictured in Griffith's 
new screen life of the 
famous President. 
E. Allen Warren plays 
Douglas. The Griffith 
cast includes Helen 
Freeman as Lincoln's 
mother, Una Merkel as 
Anne Rutledge, Kay 
Hammond as Mrs. 
Lincoln, and Hobart 
Bosworth as General 
Robert E. Lee. Ian Keith 
is said to give a vivid 
performance of the as- 
sassin, J. Wilkes Booth. 



ABRAHAM 

LINCOLN 



David Wark Griffith's Filming of 

Life of the Great Emancipator 

Is Completed 



It was inevitable that Griffith eventually would 
film the life of the immortal Lincoln. Remem- 
ber how graphically he touched upon the life 
and martyrdom of the great President in "The 
Birth of a Nation"? The assassination of Lincoln, 
as pictured in that screen classic, was an un- 
forgettable film moment. At the left, Walter 
Huston, the actor, as the younger Lincoln. 




76 




Above, Lincoln in session with his War Cabinet, including 
Secretary of the Navy Gideon Wells, Secretary of War 
Stanton and Secretary ot State Seward. At the right, 
Lincoln and his wife in the box of Ford's Theater, 
in Washington, on the night of Good Friday, April 14, 
1865, a few moments before the assassination. As if 
sensing the ominous presence of death, Lincoln has just 
drawn his scarf tightly around his shoulders. Below, a 
few seconds after Booth had shot the President, jumped 
from the box and escaped across the stage. Panic 
reigns as Laura Keene, the star, tells the startled audi- 
ence of the tragedy. Lincoln was carried across the 
street to Peterson's lodging house, where he died some 
hours later in a dingy little bedroom. 








DOROTHY JORDAN 



78 



BELLES 
of the 

BEACHES 



Joan Marsh has been called the 
prettiest girl on the Santa Monica 
beach. That's a high compliment, 
for the beaches near Hollywood 
are crowded with the most beauti- 
ful girls in the world. The picture 
at the right was made at the 
Santa Monica Swimming Club. 
Miss Marsh is wearing a one-piece 
backless bath suit designed for 
comfort as well as beauty. With 
it she uses a very tailored bath 
coat of green jersey to match her 
bathing suit. 

Miss Marsh is with Universal and 
it has been rumored that Charlie 
Chaplin might borrow her to play 
the leading role in his next screen 
comedy. 




79 




MOVIE 

BOUDOIRS 



III. JOAN CRAWFORD 



The bedroom of Joan Crawford (Mrs. 
Doug Fairbanks, Jr.) is remarkable for 
the supreme simplicity of its furnishings 
and the spaciousness of its arrange- 
ments. The walls and ceilings are of 
cream-colored plaster. The wood- 
work is of a darker cream. The floor is 
carpeted in dark green velvet, broken 
only by a fine hook rug in apple 
green, yellow and black. The bed 
is an antique mahogany four poster in 
spool design. A light note is given by 
the ruffled canopy of cream-colored 
net and the bedspread of ecru lace 
over cream-colored taffeta. Joan, by 
the way, is wearing a suit of black 
satin pajamas with a fine white satin 
blouse, her favorite costume for home 
wear. 





Note the spaciousness of Miss Craw- 
ford's bedroom and how the furriiture 
centers around the bed. The window 
draperies and the upholstery of the 
big armchair are glazed chinz, with 
an apple-green background arid a 
design of many colors, in which yellow, 
red, orange and black predominate. 
The chest of drawers, shown above, 
is of mahogany, an antique piece of 
simple design. On it Joan keeps her 
favorite picture of her husband and a 
basket of pale yellow roses, her fa- 
vorite flowers. The chaise lorlgue, 
shown on the page opposite, is done 
in glazed chintz of a different design 
from the armchairs. This has a green 
background. 



At the right, Joan is shown at her 
dressing table. This is draped in the 
same chintz used for the window cur- 
tains. Twin lamps, originally antique 
pewter oil lamps, wired and with 
parchment shades of deep cream, are 
placed at each end. The scarf is of 
cream-colored handmade lace. Other- 
wise, the dressing table is given over 
to Joan's collection of perfume. She 
has every known kind of perfume and 
a rare collection of bizarre bottles. 





82 



The 

HEART 

of 

GRETA 
GAR BO 

How the Tragic Plight 
of Her Leading Man 
Touched the Sympa- 
thies of the Star Who 
Walks Alone 



By ADELA ROGERS 
ST. JOHNS 



THIS is a story about Greta Garbo. 
The woman who walks alone. The mysterious 
hermit who never enters into the life of Holly- 
wood. The girl who is known to no one and whom 
millions desire to know. 

It is a revelation of the real Garbo which she herself 
would never make, a searchlight turned upon her soul. 
When you have read it perhaps you will understand, 
as I did, a side of Garbo's character which has not 
before been revealed. For it isn't a cold heart which 
is hidden behind her strange silences and iron reserve, 
but something very different. 

IT begins with a boy born and raised in the mountains 
of the South. 

Until he was nineteen this hill-billy had never seen 
a motion picture. His world had been bound by the 
hills of Kentucky, inhabited only by the mountaineers, 
who are a people unto themselves. Stern, silent, illiter- 
ate people, inured to poverty and loneliness. 

Then through the medium of the screen the world 
unfolded before him — the far places of the earth and 
sea — the glories of ancient times — the beauty and drama 
of life itself. 

Motion pictures created for him a new universe, fresh 
from the hands of the gods, new, amazing, wonderful. 
He loved them and sought them whenever he might. 

One day, in a newspaper some traveler had cast by 
the wayside, he saw an advertisement. A firm in 
Chicago was looking for actors to play before the 
camera and they mentioned the enormous salaries paid 










Gavin Gordon was a moun- 
taineer from the hills of 
Kentucky. He came to Holly- 
wood drawn by one dream 
— the fantastic hope that 
he might act with Greta 
Garbo one day. 



to stars, told in glowing terms of the unknowns who 
had arisen to great heights. 

So Gavin Gordon left the mountains of the South 
and went to Chicago, wearing his boots, carrying his 
carpet bag, silent before the many strange things that 
he saw. With his slouch hat in his hand, he stood 
before the desk of the man who had written the 
advertisement and in the deep, pleasant drawl of his 
people, he said, "Air you the man that wrote in the 
paper fer movie actors? I aim to be one naow and 
I guess I don't mind startin' any minit. How much 
did you say a man gits for thet?" 

But it turned out that they didn't want to pay 
anybody. They wanted to be paid for training as- 
pirants in the art of motion-picture acting. Gavin 

83 



Gordon listened in stern silence, fingered the nine dol- 
lars in his pocket and walked out without another word. 
That afternoon he got a job in the stockyards — for he 
was hard and strong from working among the timbers. 
But his purpose was not altered. Others had become 
part of that glamorous life, others acted in motion 
pictures. Some day he would do it, too. 

CILENTLY, persistently, he pursued his goal. New 

^ York, he discovered, was the nearest place to go, 

the nearest place where 

pictures were made. So, 

when he had saved 

enough money, he went 

to New York. 

And there he had his 
first bit of luck. An 
agency to which he ap- 
plied listened to his deep 
drawl and told him they 
could get him a small 
part on the stage be- 
cause of it. He took it. 

But he didn't stay in New York very long. For one 
afternoon, in a great theater on Broadway, he looked 
upon the silver sheet and saw a woman. 

Women had never meant anything in his life. He 
knew nothing about women. He had been too busy. 
The loneliness of the big cities had been harder to 
bear than the loneliness of the hills, but the only girls 
he admired, those who drove along Michigan Boulevard 
and Fifth Avenue, were beyond his reach. They alone 
approximated the visions he had seen on the screen. 

This woman was perfect. All 
other women became nothing. 
Here, though he did not so 
phrase it to himself, was the 



"It may be that Garbo had heard all the 
things Gavin Gordon said in his delirium, 
may have looked into the boy's heart and 
been a little glad to be the ideal of such a 
man. No one will ever know." 



Greta Garbo and Gavin Gordon as you 
will see them in "Romance." 



Helen of Troy who comes once to every man — the 
acme of feminine loveliness. 
Her name was Greta Garbo. 

(^[.AVIN GORDON went to Hollywood, because he 
^-* found out that Garbo lived and made pictures in 
that distant land of which he had heard so much. 

The tall, tanned, handsome young man who got off the 
Santa Fe train in Los Angeles was very different from 
the boy who had made his way along the crowded streets 

of Chicago that first 
day. He had discarded 
boots, slouch hat. Al- 
ready he had begun to 
assume some of the 
ways and habits of his 
idols of the screen. 
Quick to learn, terribly 
observant, he had copied 
as far as he was able. 
The vivid charm of John 
Gilbert, the nonchalance 
of Menjou, the manli- 
ness of Dick Barthelmess had appealed to him most. 
All these he had watched — and for three years con- 
tinued to watch — and had taken from them such things 
as he felt he could use. 

This newcomer had for his weapons in his attack 
upon the closed corporation of Hollywood a delightful 
voice, a certain shy reserve, and a lean face full of 
character. 

But Hollywood would have none of him. For two 

years he went from disappointment to disappointment, 

trod the well-worn path from 

studio to studio, which has often 

enough been watered with tears. 

{Continued on page 106) 




The New FILMS in REVIEW 



By FREDERICK JAMES SMITH 

JOURNEY'S END— Tiffany 

Another war picture in the midst of an avalanche of 
battle dramas — but one of the very best of them. Based 
on R. F. Sherriff's splendid study of British officers 
under the devastating shock of continuous gunfire 
in the mud of a Flanders dugout. It is superbly 
directed by a stage producer, James Whale. It is 
stunningly acted, particularly by Colin Clive, as 
Stanhope, the young captain who drinks to steady 
his nerves, and by Ian MacLaren, as the gallant 
Osborne, the school-teacher turned killer. Of high 
emotional effectiveness and tremendous punch. 



PARAMOUNT ON PARADE— Paramount 

They call this an intimate entertainment rather than 
a revue. Like "The Show of Shows" and M.-G.-M.'s 
"Hollywood Revue," this picture is a series of special- 
ties contributed by the company's various stars. 
Many of these efforts are amateurish, since the stars 
are shunted away from the things they do well. 
Actually "Paramount on Parade" would be pretty 
dull without the jaunty Maurice Chevalier, who con- 
tributes brilliant first-aid three or four times. The 
best bit, in fact, is "The Birth of the Apache," done 
by M. Chevalier and our own Evelyn Brent. 

FREE AND EASY— M.-G.-M. 

Built around a small-town cutie and her efforts to be a 
movie star. She goes to Hollywood with her mother 
and a boob manager and flops. But mama gets a 
job and Elmer becomes a comedy star. Anita Page 
is the blond baby who fails. Buster Keaton is her 
manager and Trixie Friganza is her mother. Keaton 
is hilarious and the comedy moves swiftly in and 
about the M.-G.-M. Culver City studios, with back- 
stage glimpses of the stars and directors. This al- 
ways has fan interest, with its informal disclosures 
of stars at first hand. Keaton has nothing to fear 
from the talkies. His voice is excellent. 

REDEMPTION— M.-G.-M. 

Gloomy. Because of its story — and because, as Jack 
Gilbert's second film, it shows that star is still suffering 
from serious voice difficulties. Jack's voice is nervous 
and high strung. Still, it isn't beyond help. This 
Tolstoy drama was acted by John Barrymore some 
years ago. It presents the triangle of the man who 
can't adjust himself to marriage; the woman (Elea- 
nor Boardman) who loves him; and the man (Conrad 
Nagel) she should have married. These three never 
achieve reality or humanness. Better is Renee 
Adoree as a passing gypsy light o' love. Better stay 
away from this hefty slice of cinematic gloom. 

THE DIVORCEE— M.-G.-M. 

Modern life through the eyes of cynicism. Based on 

Ursula Parrott's tawdry but popular try for sensa- 
tionalism, "Ex-Wife." What's sauce for the gander 
is sauce for the goose. Equal philandering rights 
for the wife and the husband. It works out disas- 
trously, of course, but not until the plot has moved 
through a panorama of night clubs, modernistic 
apartments, swank 1930 revelry and lively situations. 
Norma Shearer does a great deal to make the story 
real and compelling. Hers is a striking characteriza- 
tion. She is aided by Chester Morris, Conrad Nagel 
and Robert Montgomery. 







ALL YOU WANT TO KNOW 




ALL QUIET ON THE WESTERN FRONT 
Universal 

The New York critics raved over this faithful 
visualization of Eemarque's detailed word picture 
of German youth's reaction to the Great War. 
It is remorseless in its picturing — gruesome, harrowing 
and bloody. You see whole lines of oncoming soldiers 
mowed down by machine guns. The whole film is 
done to the accompaniment of shrieking shells and 
bursting shrapnel, a vivid panorama of Death on 
parade. It is ghastly in its truth. Does the public 
want to stomach truth? That remains to be seen. 
The film is a monumental sermon against war and 
its futility. It tears away all the hypocrisy and bunk. 

LADIES LOVE BRUTES— Paramount 

Unless George Bancroft quickly recovers his voice, this 
will be his last picture for some time. Here he plays a 
builder of skyscraper skeletons — the master mind 
behind the machine-gun rattle of the riveters. He 
glories in his work — until he falls in love with a 
beautiful young woman of wealth and background. 
Then the builder tries to make himself over — to the 
quick disaster of everyone within reach. Bancroft 
gives a fine performance of the two-fisted remaker 
of skylines and Mary Astor is excellent as the young 
woman who whirls his life topsy-turvy. This is not 
one of Bancroft's best films but it has a lot of vigor. 

YOUNG MAN OF MANHATTAN— Paramount 

A story of newspaper folk, based on Katherine Brush's 
best seller. The marriage of a famous sport writer 
and the young woman who writes the movie re- 
views — and what came of it. The sports specialist 
can't adjust himself to marriage and the girl can't 
tolerate his weakness. Back of the drama is the 
pageant of sports, swinging from the first Tunney- 
Dempsey fight to great football battles and the 
Spring training of the big baseball teams. Claudette 
Colbert is an interesting heroine and Norman Fos- 
ter (her husband in real life) is good as the sports 
specialist. Charles Ruggles scores. 

THE KING OF JAZZ— Universal 

A disappointment — but a lavish one. An over-produced 
revue. Universal called in Murray Anderson, a foot- 
light revue producer, and let him run riot with an 
unfamiliar medium. The result is a dull melange 
of tremendous sets, dancing girls, and indifferent 
principals, save for Paul Whiteman, who registers. 
The color photography, too, is bad, keeping events 
in vague semi-darkness. Jeanette Loff looks beauti- 
ful but falls down vocally. John Boles scores briefly 
(with "It Happened in Monterey") and everyone else 
is buried in the extravagance of scenery. This pic- 
ture cost $2,000,000 to make — and is miles too long. 

IN GAY MADRID— M.-G.-M. 

Ramon Novarro's skill in light comedy is coming to 
the fore in the talkies. Until the audibles appeared, 
Ramon was just a romantic juvenile. The talkies dis- 
closed not only an agreeable light tenor, but a sly 
and adroit — even whimsical — humor. This humor 
lifted "Devil May Care" out of the costume rut. It 
gives piquancy to Novarro's present vehicle. Dorothy 
Jordan is again Novarro's leading woman and she is 
charming. A newcomer, Lottice Howell, is the vamp. 
The story: a romance of love and university life in 
old Spain. Novarro sings several numbers delight- 
fully, among them the tender "Into My Heart." 



86 



ABOUT THE NEW PICTURES 



THE SONG OF THE FLAME— First National 

It seems that the Russian Reds were inspired by a 
theme song and a peasant Joan of Arc when they toppled 
the Czar from his throne. That, at least, is the plot of 
"The Song of the Flame," which was an operetta of 
several years ago. Here the Russian Revolution gets 
musical comedy treatment and everything ends 
happily for everyone but Konstantin, a scoundrelly 
Red leader who steals for personal gain. The Reds 
shoot him in the midst of a song, which is hardly 
fair, since Noah Beery, as the crooked Konstantin, 
steals the picture. Bernice Claire and Alexander 
Gray are the principals. 

SHOW GIRL IN HOLLYWOOD— First National 

You know J. P. McEvoy, frequent NEW MOVIE con- 
tributor. You know his crisp humor. You probably 
know Dixie Dugan, his cabaret cutie who storms the 
portals of Hollywood. If you haven't read her, you 
saw her in "Show Girl." This Alice White sequel is 
better. There's a lot of picturesque studio atmos- 
phere, presenting all the trials and tribulations of a 
newcomer trying to get a film break. Miss White 
grows in provocative ability, Jack Mulhall is himself 
and Blanche Sweet does a swell bit as an old film 
favorite forgotten by her public. Better put this on 
your list of must pictures. 

MONTANA MOON— M.-G.-M. 

Joan Crawford plays the spoiled daughter of a man 
who owns the biggest ranch in Montana. In a reckless 
mood, she falls in love with and marries a cowboy 
from Texas. Poppa approves, which doesn't help 
matters, and Joan decides to go her own wild way in 
New York. I won't tell you that the cowboy gets his 
bride back — or how. You probably had no doubts, 
anyway. Miss Crawford is as vital as the unreason- 
able role permits and John Mack Brown is the up- 
standing Texas lad. Ricardo Cortez is a dangerous 
lad hovering around. The picture has a song hit in 
"The Moon Is Low." 

THE CUCKOOS— RKO 

Built from a musical show, "The Ramblers," with 
Bert Wheeler and Bob Woolsey (you saw them in the 
film "Rio Rita") in the roles, originally done on the 
stage by Clark and McCullough of bankrupt fortune- 
tellers in Mexico. This is an irrational musical film 
full of the most elderly hokum and not over-funny any- 
where. Wheeler has possibilities as a screen comic. 
The film shows hurry and inexpertness in its produc- 
tion, but it has Dorothy Lee, who possesses real at- 
tractiveness, and two good musical numbers, 
"Wherever You Are" and "Dancing the Devil Away." 
This is a so-so musical film. 

STRICTLY MODERN— First National 

This was once, as a stage play by Hubert Henry 
Davies, called "Cousin Kate." The story of a sophisti- 
cated and daring novelist, played by Dorothy 
Mackaill, who has her own ideas about love. These 
ideas almost cost her future happiness. A slender 
high comedy has been taken by Director William A. 
Seiter and transformed into something else again, 
with the aid of exploding cigars, knockout drops and 
other tricks. Sidney Blackmer is a negative lover, 
but Miss Mackaill is both interesting and personable. 
This star needs better roles — and no mistake. This 
one is just passably entertaining. 








The New Movie's 
Own Cameraman 
Takes You Through 
the Big Hollywood 
Motion Picture 
Studios 



An airplane view of 
the First National Stu- 
dios at Burbank, Cali- 
fornia, near Holly- 
wood. Here you see 
the mammoth new 
sound stages, the gar- 
dens and the huge 
out-door lots used for 
special exterior sets. 
This is one of the best 
equipped of all studio 
lots. At the right, a 
front view of the Main 
Administration Build- 
ing, housing the studio 
executives. 





At the left, the ex- 
tras line up at the 
end of the day to 
receive their pay 
checks. This is the 
big moment of an 
extra's life. Each and 
every one of these 
extras has a definite 
belief that some day 
he will be a star. 



88 



VISITS 

to the 

FAMOUS 
STUDIOS 




Top, looking out of a sound stage upon 
the First National lot. Only privileged 
visitors reach a sound stage, since the 
slightest noise can ruin an expensive 
scene. An unexpected sneeze costs 
somewhere between $200 and $1,000, 
according to the magnitude of the scene. 



The First National casting office is shown 
at the left. A casting assistant is looking 
over the screen possibilities of the young 
woman at the top of the steps. These 
casting offices are the Heartbreak Head- 
quarters of Hollywood. Until you fight 
your way past their guarded portals you 
can never get a chance as an extra. 



89 



THE FIRST OF A SERIES OF PHOTOGRAPHIC TOURS OF 



WBtBEUBSlSS&SBtKBHi 




( 




First National, like the other 
big studios, maintains a perma- 
nent beauty chorus. These girls 
appear in all the large musical 
revues now so popular on the 
screen. J ust a bove, Carl 
McBride, dance director for 
First National, is rehearsing 
Billie Dove in a dancing inter- 
lude of "One Night at Susie's." 



At the left, a story conference. 
This occurs before the director 
starts work on a picture. Here 
we find Director William A. 
Seiter, Scenarist Graham Baker 
and Executive Hal Wallis sit- 
ting at the head of the table 
while "Mile. Modiste" is dis- 
cussed. 



At the right, the First 
National dining room 
— and a darned ex- 
clusive corner of it, 
too. Here the stars of 
"Spring Is Here" are 
eating. Look closely 
and you will see Law- 
rence Gray, Natalie 
Moorhead, Gretchen 
Thomas, Louise Fazen- 
da, Ford Sterling, 
Bernice Claire and 
Frank Albertson. 



90 




HOLLYWOOD'S FAMOUS MOTION PICTURE STUDIOS 



At the right, a production in the making at First National. 
Director John Francis Dillon is directing "The Bride of the 
Regiment" from the camera platform, which rises and 
lowers at command. The platform carries a telephone, too. 




Above, the wardrobe department, 
where the gowns of the stars are de- 
signed and made. Here, too, they 
work out Alice White's scanties, so im- 
portant to every feature presenting 
this popular star. 



The studio drafting room is shown at 
the left. Here the sets — big and little 
— are designed. The making of pic- 
tures is an elaborate and intricate 
business, as you can see by this pho- 
tographic visit to the First National 
lot. In an early issue New MOVIE will 
take you through another big Holly- 
wood motion picture studio. 

91 



.&*» 



The young woman, at the left, with the 
stuffed dove? Bebe Daniels, of course. 
Bebe as she was when she played op- 
posite Harold Lloyd in his early "Lone- 
some Luke" comedies. In those days 
Bebe was a lovely foil for Harold's pioneer 
comedy. 



X 



^ 



43ft 



At the right is one of the most interesting pictures ever 
published by NEW MOVIE. It shows Mary Pickford in one 
of her very first D. W. Griffith films, "The New York Hat," 
which introduced Lionel Barrymore to the screen. The 
scenario was sent to the old Biograph studio by a 16-year- 
old California girl named Anita Loos. Miss Loos grew up 
to be a famous writer. For "The New York Hat" she 
received the large sum of $15. 



The pretty bellhop is none 
other than Norma Tal- 
madge. Honest! The 
scene is from one of those 
early two reel "Belinda" 
comedies. Then Miss Tal- 
madge lived out Ocean 
Avenue way in Brooklyn 
with her mother and her 
kid sisters, Constance and 
Natalie. In this scene 
Van Dyke Brooke, a favor- 
ite character actor of the 
day, appears with Leo De- 
laney, who plays an artist. 



W§fflj£8i&h 



92 



When 

SILENCE 



was 



GOLDEN 



Again we present Gloria Swanson 
in her Keystone-Mack Sennett days. 
The scene at the right is from 
"Teddy at the Throttle," in which 
Teddy, the famous comedy dog, 
was featured. Remember Teddy? 
What a canine personality he pos- 
sessed ! With Miss Swanson in 
this scene is Bobby Vernon. The 
background is a locomotive, as 
you've probably noted. 





Remember the days of Bill 
Hart, whose best friend 
was his horse? Here is 
Bill bidding a tearful good- 
bye to his pal in one of his 
early Triangle melodramas. 
Those were the days when 
Hart played bad men who 
reformed under the uplift- 
ing influence of the beau- 
tiful blonde from the East. 



93 







THE 

BARRYMORE 

HEIR 



The youngest of the house of Barrymore, a baby girl, poses for her very first 
picture. Later, doubtless, Miss Barrymore will be a screen star. Proud Papa John 
Barrymore and equally Proud Mama Dolores Costello look on approvingly. Miss 
Barrymore's name has not been selected definitely. It may be Blythe Barrymore, 
using the Barrymore family name. 



94 



HOLLYWOOD 



Unveils Its 

Memoria 



to 



VALENTINO 



IF Rudolph Valentino needed anything to make him 
immortal, anything to remind those who follow 
that he once lived — and died- — that something was 
given him upon the day that would have been his 
thirty-fourth birthday. 

Molded in imperishable bronze, plated with shining 
gold, a statue to his memory and honor was unveiled in 
De Longpre Park, in Rudy's own Hollywood, on May 5th. 
The memorial cost over ten thousand dollars. It was 
paid for by humble and sincere offerings of nickels and 
dimes from thousands of his fans who sent their mites 
from the four corners of the earth. 

TT is called "Aspiration." 

A "The statue, thus named, will be a perpetual sym- 
bol of his industry and high ideals which he endeavored 
to carry out during the days of his life," said Alberto 
Mellini Ponce de Leon, vice consul in Los Angeles for 
the country which gave Rudolph Valentino birth — Italy. 

Fifteen hundred people bowed their heads and thought 
back to Rudy. Thought perhaps of the beauty and ro- 
mance he brought into the world through the medium 
of the silver screen. 

For several days before the unveiling, rain had wetted 
the park. The morning of the day dawned gray and 





Molded in bronze and plated in gold, the new 

Valentino Memorial, unveiled on May 5th, stands in 

De Longpre Park, a perpetual symbol of the spirit that 

carried Rudy to the heart of the world. 



bleak. Those who gathered at the statue did so under 
lowering and threatening clouds. It seemed as though 
the very heavens felt sad. 

DOLORES DEL RIO pulled the cord which dropped 
the velvet wrap from around the memorial and — 
call it coincidence if you will — the clouds broke and a 
shaft of pure sunshine struck the statue. It lit it up 
until it was a golden, radiant torch. 

Tiptoe, face uplifted, it stood straining as though to 
lift itself by the very power of thought and desire to a 
higher level and better things. 

George Ullman, who was Rudy's closest and best 
friend, stared straight ahead. Tears ran down his face. 
His lips moved. "I'm glad for you, Rudy," they said. 
"You will never be forgotten." 
Nor will he. 

Those who love the mem- 
ory of Valentino can take fur- 
ther pride in the fact that this 
memorial to him is the only 
one to a motion picture actor 
in any public park in the 
United States. That, at least, 
shows what Los Angeles and 
Hollywood think of the de- 
parted boy who brought them 
so much credit during his life. 



The Valentino Memorial 
is the work of Roger 
Noble Burnham, formerly 
of Boston and now of 
Hollywood. It was paid 
for by the nickels and 
dimes of Valentino's 
thousands of fans. 



95 




Making a sound film out in the open. On location with First National company making "Under Western Skies" 
near Lone Pine, Arizona. Note the huge microphone horn in the foreground. 

Gossip of the Studios 



They left convinced that Hollywood is 
all they heard it was. 

WELL, William Fox never forgets. 
He sent Sol Wurtzel, who has 
worked for him in the Fox studios for 
years, a check for ONE HALF MIL- 
LION DOLLARS. "In partial appre- 
ciation, Sol," the note accompanying 
the check is reported to have read, "of 
nineteen years of service you have 
given me." 

A new game is much in vogue among 
the film colony just now. It is called 
"District Attorney" and was invented 
by Carey Wilson. One person invents 
a murder mystery. All the others in 
the group are district attorneys. They 
may call for and examine any witness 
— all witnesses being played by the one 
who invented the mystery. And all 
witnesses, except the guilty party, must 
tell the truth. Jack Gilbert and Eddie 
Lowe are champions of this new pas- 
time. 

One night an inventor began the 
story by saying, "Mr. So-and-So (a 
well-known producer) was found mur- 
dered in his office." Everyone present 
arose and said, "I did it." 

MR. AND MRS. WALTER MOR- 
OSCO (Corinne Griffith) have 
moved into their new home at Malibu 

96 



(Continued from page 23) 

Beach and are entertaining on Sundays 
with tennis and swimming parties. 
The other evening they had a delightful 
little dinner, among the guests Mr. and 
Mrs. Howard Hawks, Mr. and Mrs. 
Jules Glaenzer, Mr. and Mrs. George 
Archainbaud, Mrs. Douglas MacLean, 
and Mr. and Mrs. Abraham Lehr. 

UNIVERSAL is going to road-show 
"The King of Jazz," Paul White- 
man's picture, in tents. The reason 
being that many towns and hamlets in 
the West and Southwest have no equip- 
ment for sound. Forty of these tents 
will be used, each seating 5,000 per- 
sons. 

A Hollywood writer was in England. 
He saw a play which was not a success. 
He bought it for 250 dollars. Came 
home and made it into a scenario. 
Then sold it to RKO for $22,500 cash 
money. 

WITH the coming of summer, Bebe 
Daniels has reopened her beach 
home and is giving more of her de- 
lightful Sunday luncheons, with swim- 
ming and bridge attractions. 

One Sunday not long ago about fifty 
people came for the day, and Bebe 
served hot tamales and baked ham in 
the pretty seaside living room. 

Constance Talmadge, who is so sel- 



dom seen abroad since her marriage to 
Townsend Netcher, was there, in a 
simple white skirt and sweater, with a 
white silk beret over her bright hair. 
Lila Lee looked unusually well in a 
black and white sport ensemble, with a 
tight little black velvet cap, held by a 
bow at the back of her neck. Louis 
Wolheim was playing bridge with 
Bebe and Mr. and Mrs. Hal Roach — 
Mrs. Roach all in silvery white. Mr. 
and Mrs. Skeets Gallagher were among 
those present. And Mrs. Gallagher 
whispered the interesting news that 
there is to be a new Spring arrival in 
that family. Pauline has become very 
popular with the film colony since her 
arrival here. And, of course, Ben 
Lyon was there, very happy over the 
wonderful reports he has been receiv- 
ing about "Hell's Angels." 

M-G-M sent a company to Africa 
to film "Trader Horn," and some 
of the players went to bed after the 
company returned three months ago 
and have not gotten up yet. They are 
still sick and fever stricken and, in the 
meantime, the picture is held up. Not 
daunted a bit by this experience, Uni- 
versal is sending a company into the 
middle of Borneo to do a picture 
called "Orang." Only one white man 
has even been in the location this com- 
(Continued on page 98) 



The Hollywood Boulevardier 



(Continued from page 55) 



straight. He is the most stimulating, 
energizing male personality I've ever 

encountered in Hollywood. 

* * * 

rHIS boy Gary Cooper appears to me 
to have more sanity than any of 
the younger Hollywood generation. I 
have yet to hear of him twittering in a 
Hollywood salon. And he makes the 
only sound observation I've heard from 
a young actor: "Hollywood's a terrible 
place. Nobody is normal. They have 
such a vicious attitude toward one an- 
other. Nobody has any real friends." 
This will bring squawks from the 
lounge lizzies, but it is the truth. Alice 
Terry said as much and retired to hap- 
piness on the French Riviera. Gary re- 
tires to one of his ranches as soon as he 
finishes work. I retire to my hacienda 
near Santa Barbara. When I feel in 
the mood for teasing vipers I shall re- 
tire to the jungles of Africa. There 
they are out-and-out vipers. 

* * # 

DISAPPOINTED in many Holly- 
wood friends I am compensated 
in one, Bull Montana, who vows he will 
shove anyone in the face at a prear- 
ranged signal from me. Bull is my liv- 
ing proof that brains are denied beauty 
and vice versa. I herewith reproduce a 
letter from him which has been trans- 
lated by Sanskrit scholars after many 
laborious nights: 

"Dear Pal Herb: Well, kid, here I am 
in Chicago. Was out to Cicero last night 
with all gunmen. Give me a banket. All 
gunmen. Banket all gunmen. Want 
see the Bull. Well, Kid Herb, all gun- 
men like your stuff in New Movie. You 
are big shot with gunmen. They say 
Herb got right idea. Am coming back 
to Glendale to my wife. Love my wife, 
Herb. Is 0. K. Good kid. Love her 
more than ever. The champ Dempsey 
was here to see me last night. The 
champ O. K., Herb. Am going to 
write my old pal Douglas Fairbanks. 
Greatest of all. Doug is 0. K., Herb. 
Will see you soon. Your pal. 

Bull. 

^ # % 

71/fY colored boy, who goes by the 
■*■ "■* name of Haywire, got bug-eyed 
when I read him that Stepin Fetchit 
would speak Spanish in a picture. 

"Say, he can't even talk English," 
gasped Haywire. "They better had find 
out what he's sayin' in that picture!" 

* * * 

MY favorite new eating place in 
Hollywood is Marie's on Ca- 
huenga, south of the Boulevarde. The 
chef is Neapolitan. Yolanda, the beau- 
tiful waitress, named for the Italian 
princess, looks like Nita Naldi at nine- 
teen. Yolanda comes from Montana 
but descends from the sirens of Venice 
who excited Byron. I learn much from 
Yolanda. She is studying voice and as- 
sociates with movie folk. Last night, 
placing my minestrone, she said: 




In the midst of a shower, Herb was startled when Jeanette Mac Don- 
ald's voice suddenly launched into "Dream Lover." But it was only 
Herb's phonograph. 



"I met Charlie Chaplin's future wife 
at a party the other night." 

"Yeah?" I muttered chumpily, "which 
one?" 

* * * 

TDOULEVARDING Around on Satur- 
O day night: 

Now buckling on the spats let's do 
an imitation of 0. O. Mclntyre, my 
favorite breakfast author. 

Hoofers and crooners are perform- 
ing before a mike in a shoe stoi - e. Hol- 
lywood salesmanship. 

"Papers from all the leading cities of 
the world!" yawks a newsboy. "Po- 
mona, Long Beach, Santa Monica, 
Glendale!" 

California, the land of laugh and 
wise-crack. Sign on the back of a de- 
crepit Ford: "Nobody hurt in this 
wreck." 

Slim electric towers of KFWB, atop 
Warner Brothers theater look like 
twins laid by the Eiffel. 

Window filled with cheap suits and 
movie stars' photos. They always get 
the gapes. Hollywood is star raving 
mad. 

Lichter, swank tobacconist in the 
Chinese theater building: "A Puff from 
Hollywood" scrawled in Neon. 

There's the photographer who made a 
fortune marketing stars' photos and 
saved the stars a fortune, because every 
response to a request for a photo cost 
them two bits. 



It suddenly occurs to me I have never 
been hi-hatted by a star. Maybe I'm 
too hi-hat to be hi-hatted. 

Group of homey folk playing cards 
in lobby of Christie Hotel. 

Kathleen Clifford's flower shop, 
branches all over town. 

Sign: "Turkey, chicken, duck din- 
ner 85 cts." Um, um. I'm going to 
save up. 

Buddy Squirrel's Nut Shop. 

Two gobs looking wistful. . . Haven't 
seen their Clara Bow. I suggest a new 
recruiting slogan for the navy: "Join 
the Navy and be Bow's Baby!" 

Youth with whiskers, probably an ex- 
tra in a Russian picture. Wonder if I 
could grow such chin tail plumage. 

Dashing person in white sweater, yel- 
low muffler, blue beret, at wheel of road- 
ster. Is it boy or girl? No color line 
in Hollywood. 

Never saw a slimmer guy than Gary 
Cooper. Lindy made the slim male fash- 
ionable. Much obliged, Lindy! 

Stepin Fetchit salutes me from his 
shining chariot, tells me he has visited 
Valentino's tomb: "Membered what you 
said, that I could do foh mah people 
what he did foh Eyetalians." 

There is no city on earth so filled 
with beautiful youth, male and female, 
as Hollywood. 

Is that a tag on my car? . . . Fines, 
taxes, assessments, jip, jip, jip. . . . I'm 
going to Europe! 



The Hollywood Boulevardier 



by Herb Howe 



is a regular monthly feature of NEW MOVIE. Nowhere else can you read Mr. Howe's brilliant 
comments upon motion pictures and motion picture people. 



97 




In Metro-Goldwyn's "The High Road" you will see Ruth Chatterton in a different sort of role, 
leading the chorus in the musical comedy sequence of this production. 



Above, you see her 



Gossip of the Studios 



pany is headed for and he said the 
place was overrun with orang-outangs 
between seven and eight feet tall. 

John Barrymore and Dolores Costello 
(Mister and Missus Barrymore) have 
not yet named the pretty little girl 
baby who arrived at their house for a 
long stay, April 8th. John had a whole 
flock of names ready, but they were all 
for boys. The baby iveighed seven 
pounds and eleven ounces. 

RENEE ADOREE, who has been in 
■ a sanitorium for several months 
due to a pulmonary ailment, is slowly 
but surely winning her way back to 
health. 

COUNT MICHAEL KAROLYI, 
Hungarian, says that motion pic- 
tures are the greatest propaganda 
agents in the world. "Any feeling can 
be aroused, and wars can be precipi- 
tated by motion pictures." But he 
says that the talking pictures are not 
so hot. 

Dorothy Herzog, well-known colum- 
ist on screen matters, has a new novel 

98 



(Continued from page 96) 

out called "Some Like 'Em Hot," which 
has gone into the second edition. Miss 
Herzog, by the way, becomes a New 
Movie contributor next month. 

FIRE raised merry ned with the 
Harold Lloyd home when it burned 
out the kitchen and part of one wing of 
his beautiful new Beverly Hills estab- 
lishment. He and Mrs. Lloyd (Mildred 
Davis) and little Gloria are living at 
the Ambassador until the damage can 
be repaired. 

MR. AND MRS. HARRY ED- 
WARDS (Evelyn Brent) had a 
small dinner party at the Embassy 
recently. The guests were Mr. and 
Mrs. Jack Buchanan and Mr. and Mrs. 
Lowell Sherman (Helene Costello). 

AL JOLSON made a speech at the 
opening of his latest picture, 
"Mammy," in which he said that, after 
seeing "All Quiet On the Western 
Front" he would never again be satis- 
fied with anything he did. 

Dick Arlen has bought a cruiser 
which he has named "Joby R." 



ELEANOR HUNT was a chorus girl 
in the "Whoopee" show in New 
York. She was sent to Hollywood to 
be a chorus girl in the "Whoopee" 
movie. Sam Goldwyn, who is produc- 
ing "Whoopee" at United Artists, saw 
Eleanor walking on the lot. He gave 
her a test. Now she is to play the 
leading lady in "Whoopee." She has 
natural auburn hair, blue eyes, weighs 
116 pounds and is five feet five inches 
tall. 

Lillian Roth has bought a neio 
Durant roadster. 

BILLIE DOVE is taking her first 
real vacation in years — and she 
hardly knows what to do with it. She 
kinda wants to go to Europe, yet 
doesn't. She is through at First 
National and may be seen in Caddo 
Films in the future. 

Vilma Banky says that she is 
through with making pictures and that 
in the future the one job she will pay 
any attention to is that of being Mrs. 
Rod La Rocque. 

(Continued on page 104) 



Jhr Economical Transportation 




IT'S WISE TO CHOOSE A SIX 

» • because so much depends on smoothness 
and quietness of operation 



In the great low-price field, old ideas of motor 
car value have undergone a radical change during 
the past eighteen months. The six has swept into 
spectacular popularity. And largely responsible 
for this is the fact that Chevrolet offers buyers in 
the low-price field the advantages of six -cylinder 
smoothness and quietness of operation! 

The big 50 -horsepower motor operates with that 
effortless smoothness so essential to genuine 
motoring enjoyment. When you idle the motor 
— drive fast in second — accelerate rapidly in high 
gear— or travel for hours at top speed, the power 
flows evenly and easily all the time. Every per- 
son in the car has a pleasant and restful ride. 



:. ' :'"... ' ' .- ; ' - • ' "' " 

%fc"p fflBHta»»»"-""" 




The Sport Boadsler, #555 

In addition to increasing the enjoyment of 
motoring, Chevrolet's six-cylinder smoothness 
actually protects the car against the effects of 
continuous vibration. This makes for lower up- 
keep costs, longer life, and a higher resale value. 

Yet for all these advantages of finer, smoother, 
more flexible six -cylinder performance, the Chev- 
rolet Six is one of the most economical cars you 
can own. It costs no more for gas, oil and tires. 
It costs no more for up-keep. And it can be pur- 
chased on extremely favorable terms — a low 
down payment and easy monthly installments. 

CHEVROLET MOTOR COMPANY, DETROIT, MICHIGAN 

Division of General Motors Corporation 



CHEVROLET SIX 



The Sport Roadster. . $555 
The Coach or Coupe. .*<50<J 

The Sport Coupe S 655 

The Club Sedan S 625 

The Sedan *675 

The Special Sedan S ?25 

(6 wire wheels standard) 

Bumpers and spare tires extra 



Roadster or Phaeton 

'495 



The Sedan Delivery. . S595 
Light Delivery Chassis. **50D 

1 14 Ton Chassis $520 

1 \'2 Ton Chassis with _^~- 

Cab s 625 

Roadster Delivery *440 

(Pick-up box extra) 

All prices /. o. b. factory 
Flint, Michigan 







The Perfect Comedy Team 

Marie DRESSLER 

and P0lly MORANu 



ittOHS fWH> s 

\m Union Tf- 1 

pM? TO LOCAL 



with 
ANITA 
PAGE 

Adaptation and 

Dialogue by 

W1LLARD MACK 

Directed by 

CHARLES F. 

RIESNER 
Suggested by 

EDDIE 

CANTOR'S 

book. 



From wash-boards to Wall Street — from 
cleaning up in the kitchen to cleaning up 
in the stock market! What a riot — what a 
scream — what a panic of laughs — are these 
two rollicking comedians as they romp their 
way through the merriest, maddest picture 
you ever saw. How they put on the ritz 
while the money rolls in! Then came the 
dawn — and back to the soap suds with 
Marie and Polly. Don't, don't, DON'T 
miss seeing "Caught Short". 



_H' W M\H<\ 



METRO-GOLDWYN-MAYER 



'Miuv Stars I /win f/irrr Arc in 



What the Stars Are Doing 



STAR 


TITLE 


DIRECTOR 


KIND OF STORY 


LEADING PLAYER 


COLUMBIA STUDIO 










Jack Holt 
Joe Cook 
Sally O'Neil 
Lois Wilson 
Buck Jones 


Hell's Island 
Rain or Shine 
Sisters 
Temptation 
Man from Hell's 
River 


Ed Sloman 
Frank Capra 
James Flood 
E. Mason Hopper 
Lou King 


Melodrama 

Comedy-Drama 

Drama 

Drama 

Western 


Dorothy Sebastian 
William Collier, Jr. 
Molly O'Day 
Lawrence Gray 
Vera Reynolds 


FIRST NATIONAL STUDIO 








Richard Barthelmess 
Walter Huston 
Alice White 


Dawn Patrol 
Bad Man 
Chicago Widow 


Howard Hawks 
Clarence Badger 
Ed Cline 


Air Picture 

Melodrama 

Gangster 


Doug Fairbanks, Jr. 
Dorothy Revier 
Neil Hamilton 


FOX STUDIO 










Margaret Churchill 
George O'Brien 
Beatrice Lillie 
Frank Albertson 
Irene Rich 
Charles Farrell 


The Big Trail 
Last of the Duanes 
Are You There? 
Wild Company 
On Your Back 
Devil with Women 


Raoul Walsh 
Alfred Werker 
David Butler 
Leo McCarey 
Guthrie McClintic 
Frank Borzage 


Western 

Western 

Comedy 

Youthful 

Drama 

Drama 


John Wayne 
Lucille Brown 
Roger Davis 
Sharon Lynn 
H. B. Warner 
Rose Hobart 


HAROLD LLOYD STUDIO 








Harold Lloyd 


Feet First 


Clyde Bruckman 


Comedy 


Barbara Kent 


METRO-GOLDWYN-MAYER STUDIO 








John Mack Brown 
Reginald Denney 
All Star 
Greta Garbo 
Joan Crawford 
Gilbert Roland 
Lon Chaney 


Billy the Kid 
Mme. Satan 
March of Time 
Romance 
Blushing Brides 
Monsieur Le Fox 
The Unholy Three 


King Vidor 
C. D. DeMille 
Chuck Reisner 
Clarence Brown 
Harry Beaumont 
Hal Roach 
Jack Conway 


Western 

Comedy 

Revue 

Drama 

Melodrama 

Northwest Drama 

Melodrama 


Lucille Powers 
Kay Johnson 

Galvin Gordon 
Ray Hackett 
Barbara Leonard 
Lila Lee 


PARAMOUNT WEST COAST STUDIO 








Gary Cooper 
Jeanette MacDonald 
William Powell 
Claudette Colbert 
Cyril Maude 
Buddy Rogers 


Untitled 
Monte Carlo 
For the Defense 
Manslaughter 
Grumpy 
Follow Thru 


Roland Lee 
Ernst Lubitsch 
John Cromwell 
George Abbott 
Cukor-Gardner 
Corrigan-Schwab 


Romantic War Story 

Musical 

Drama 

Drama 

Comedy 

Musical 


June Collyer 
Jack Buchanan 
Kay Francis 
Frederic Marsh 
Frances Dayde 
Nancy Carroll 


R K O STUDIO 










Betty Compson 
Richard Dix 
Robert Armstrong 


Inside the Lines 

Square Dice 

The Railroad Man 


Roy Pomeroy 
Geo. Archainbaud 
Geo. B. Seitz 


War Spy Story 
Crook 
Railroad Story 


Ralph Forbes 
Mary Lawlor 
Jean Arthur 


UNITED ARTISTS STUDIO 








Eddie Cantor 
Norma Talmadge 


Whoopee 

Du Barry, Woman 
of Passion 


T. Freeland 
Sam Taylor 


Musical Comedy 
Drama 


Eleanor Hunt 
Conrad Nagel 


UNIVERSAL STUDIO 










Dorothy Janis 


Orang 


H. Garson 


Exploring 
Melodrama 


A. Cannibal 


WARNER BROTHERS STUDIO 








Joan Bennett 
Winnie Lightner 
Grant Withers 
Lotti Loder 


Maybe It's Love 
Life of the Party 
Penny Arcade 
A Soldier's Play- 


Wm. Wellman 
Roy Del Ruth 
John Adolfi 
Michael Curtiz 


Comedy 
Comedy 
Comedy-drama 
Comedy-drama 


Joe Brown 
Irene Delroy 
Evelyn Knapp 
Ben Lyon 


Al Jolson 


thing 
Big Boy 


Alan Crosland 


Musical Comedy 


Claudia Bell 



101 



FIRST AIDS to BEAUTY 




By ANN BOYD 

How to Achieve 
a Suntan With- 
out Injurious 
Results 



Virginia Bruce demonstrates 
how to keep your teeth beau- 
tiful. Brush the teeth once a 
day with salt, to stimulate cir- 
culation in the gums and for 
cleanliness. Use a vigorous up 
and down movement when 
brushing the teeth. Never em- 
ploy a rotary movement, unless 
your dentist advises it. Eat 
several slices of crisp toast 
every day. Toast is excellent 
for strengthening the gums. 




WITH the approach of vacation days, many girls 
write in to ask me how they may achieve a 
suntan without sacrificing the beauty of their 
skins; how they may acquire a coat of tan 
without enduring that first painful and disfiguring sun- 
burn. Until very recently most girls avoided any sort 
of tan and went to amusing and inconvenient lengths 
to keep their pink and white complexions in face of 
the summer sun. Bathing suits were made with long 
sleeves and high necks, parasols were in great demand 
and wide, floppy hats were an absolute necessity in 
the summer-time. 

When the suntan first became popular, some girls 
also went to foolish extremes and 
risked their health and good looks 
in order to be able to acquire 
quickly one of those fashionable 
tans. 

THE first thing to remember 
about a suntan is that it can- 
not be achieved in one or two 
days. If, for instance, you don 
your sunback bathing suit and 
spend an afternoon under the hot 
glare of the sun you will get 
nothing but a painful burn which 
will annoy you when it reaches the 
peeling stage and you will, in dis- 
comfort and in actual damage to 
your health, do more harm than 
good. 

If you want an even, painless 
tan, begin by making your sun- 
bath last only fifteen minutes. 
You may remain as long as a half 
hour at the start, if the sun is 
not too hot or strong. Gradually 
increase the length of your stay 
in the sun until your skin has 
built up its own protection against 
a burn. 

A sunburn, you know, is an ac- 
tual burn. In order to realize its 

102 




results, you must know something about burns. A first 
degree burn, whether received by open flame or the 
sun's rays, reddens the skin without actually breaking 
it. A second degree burn raises a blister. In a third 
degree burn — such as received by actual contact with 
fire — the skin is seered. Now if more than half the 
surface of your body receives a second degree burn, 
you are interfering with some important bodily func- 
tions. You are cutting off the necessary perspiration, 
besides letting yourself in for several painful days. In 
your sunbath, therefore, you must avoid a second de- 
gree burn which, if it is widespread enough, may 
require medical attention. There are various things that 
you can do to protect your skin 
without interfering with the 
healthful results of a sunbath. 
Many movie actresses that I know 
rub their skins with vinegar after 
a sunbath. This is supposed to 
make the skin an even brown 
color. I don't know that there is 
any good reason for this belief, 
but the actresses who use vinegar 
insist that it is a great help. 

On the other hand, there are 
those who favor olive oil. (We 
seem to run to salad dressing in- 
gredients.) Oil, I know, is very 
successful, particularly with young 
children and with blondes who 
have, as a rule, more tender skins 
than brunettes. The oil, too, is 
soothing to the skin and is of mi- 
nor benefit to persons who are thin 
or run down or whose skin is dry. 

TV/TY favorite lotion is a prepa- 
I-'-l ration for the hands which 
I use before I take a sunbath 
as a foundation protection for the 
skin. There are many such ex- 
cellent lotions on the market and 
also a number of good protective 
(Continued on page 127) 



The New Movie Magazine 




THE STRANGER THEY NEVER EORGOT 



This stranger knocked at the door of 
many a home back in the early 1890's. 

Politely he asked for the dirtiest 
garment in the family wash. Then he 
showed how an amazing new soap 
would wash it swiftly, easily, without 
hard rubbing — and in cool water. 

In cool water — that was the big 
news the stranger brought. For in 
those days, only mansions had water 
heaters. Women had to heat their wash 
water on cookstoves. There was never 
really enough. And the soaps they 
had simply wouldn't wash clean in 
cool or lukewarm water without rub- 
bing the clothes almost to shreds. 

So Fels-Naptha, the soap the 
stranger introduced, was welcomed 
by thousands of women. A soap that 
would wash as well or better in cool 
water than other soaps did in hot was 
the biggest help they had ever had. 

Fels-Naptha would also work fine 
in hot or boiling water. But there 



wasn't any use talking about that 
when lukewarm water was all women 
had. So today, when almost every 
woman can have loads of hot water 
just by turning a faucet, many still 
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103 




Remember Fritzi Scheff in "Mile. Modiste"? Remember her famous song, "Kiss Me Again"? "Mile. Modiste" has 
just been filmed by Vitaphone, with Bernice Claire as the saucy belle of the drums. 

Gossip of the Studios 



METHODS of crime shall not be 
presented in explicit detail upon 
the screen. 

Revenge in modern times shall not 
be justified as a motive. 

The use of liquor in American life 
shall be restricted to the actual re- 
quirements of characterization or plot. 

The sanctity of the institution of 
marriage and the home shall be upheld. 

Scenes of passion shall not be intro- 
duced when not essential to the plot. 

No film or episode may throw ridi- 
cule upon any religious faith. 

Pointed profanity is forbidden. 

These are some of the provisions of 
the new code of ethics which Will Hays' 
organization has put forth for the 
guidance of motion picture producers. 

Lois Moran has just become 21 
years old. As a present she was 
handed $68,005 which an aunt, Edith 



(Continued from page 98) 

Darlington Ammon, who died in 1919, 
left for her. 

MRS. TOM INCE, widow of the 
producer who died in 1924, has 
married again. This time to Holmes 
Herbert, an actor. And in doing so at 
this time she may forfeit her interest 
in the $2,000,000 estate left by her hus- 
band. 

The will of the producer contained a 
provision that Mrs. Ince would lose the 
principal and be given only the income 
from it if she married within seven 
years of his death. She had only a 
year to go. 

The motion picture industry employs 
325,000 directly and furnishes a liveli- 
hood for at least 1,250,000 people. 



A 



N armored truck and six detec- 
tives backed up to Warner 



Brothers studio. The truck transported 
and the dicks guarded $200,000 worth 
of jewelry which Irene Delroy was 
going to wear in a picture. 

Warner Baxter and his wife have 
gone to New York and Cuba for a 
vacation. 

A RARE event occurred at the Roose- 
velt Hotel on a recent evening, 
when Al Jolson appeared as guest of 
honor at a party given by Mr. and Mrs. 
Michael Curtiz (Bess Meredyth) fol- 
lowing the premiere of "Mammy." 
Mrs. Jolson was present of course, 
looking very stunning in a long, tightly 
draped frock of pale green. Those who 
attended the supper were Mr. and Mrs. 
Harry Langdon, Oscar Strauss, Frank 
Fay, Alan Crosland, Mr. and Mrs. Jack 
Warner, Louella Parsons, Harriet 
Parsons and Dr. Harry Martin. 



Dollar Thoughts 



struck by the ability of a minor char- 
acter and he doesn't have any idea who 
it is and has no way of finding out. 

Can't something be done about it? 
Let's hear other people's opinions. 
Grace M. Custer, 
2423 Clyde PL, S. W. 

Against Musical Comedies 

Edmonton, Alberta, Canada 

These musical comedies certainly are 

104 



(Continued from page 58) 

getting on my nerves. They're terribly 
much the same. The plots are weak, 
and serve only as a background for the 
boring, musical extravaganza. Many 
people think the same as I do. They're 
all right until you've seen three or four 
of them, but after that — phooh ! Why 
can't we have a few talkies with real 
plots and less music and dancing? 

Marion Conroy, 

10048— 115th Street 



Covington, Ky. 

I have just spent a pleasant after- 
noon reading the new Movie Magazine 
from cover to cover. Such lovely pic- 
tures, interesting articles and well- 
known writers,- a very remarkable 
magazine. I get so many giggles from 
that wit J. P. McEvoy, and Adele 
Rogers St. Johns is very good. Give us 
lots of Herb Howe and Homer Croy. 
Hildreth Dickerson, 
227 E. Seventh Street 



The New Movie Magazine 




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105 



The Heart of Greta Garbo 



Gavin Gordon shed no tears, knew no 
despair. His real sorrow was that he 
never saw Greta Garbo. Soon he dis- 
covered among the others he met that 
the great actress of the screen was diffi- 
cult to know, even for the elect. She 
moved in mysterious ways, lonely ways, 
and there were hundreds of people 
right in her own studio who had never 
spoken a word to her. Even the girl 
who did stand-ins for her — to take the 
burden of standing for lights and cam- 
era angles from her shoulders — had 
never met her. No one, not even the 
studio officials, knew where she lived. 

He had to content himself with going 
every night to see any picture of her 
that was running, sitting for hours 
wrapt in wonder at her art and her 
beauty. This woman of the silversheet 
filled his thoughts and his dreams. 

If he could only get a chance. The 
friends he had made marveled at the 
steadiness of his ambition, the silent, 
smiling determination of this tall 
young man from the South. Knowing- 
Hollywood, they wondered if he would 
be added to the thousands who have 
tried and failed and been heartbroken. 

He might have been but for a chance, 
a coincidence such as fiction editors de- 
plore on the ground that things like 
that don't happen in real life. 

IN the dark projection room of one of 
the biggest studios, a group of wor- 
ried people sat watching the screen. A 
producer, a director, a writer and a fa- 
mous star. 

They were looking at screen tests, 
sent to them from all the studios in 
Hollywood, searching for a young actor 



(Continued from page 84) 

who could play a certain part. All the 
well-known leading men had been dis- 
cussed and found wanting. All the 
newcomers being hailed had been con- 
sidered. Stage actors had been elimi- 
nated one by one. Agencies had sent 
candidates without number. 

No one seemed to be just what they 
wanted and the situation was des- 
perate. So they sat running test after 
test, hoping somewhere among the un- 
known legions to make a lucky find. 

Suddenly there appeared before them 
on the screen a tall, well set up young 
man, with a stern face marked by self- 
discipline and reserve, and through the 
sound tract came a slow, deep voice, 
with the softness of the South held in 
check by a delicate precision of enun- 
ciation. 

The little group sat up, when as 
quickly as it had come on the picture 
faded, the lights went up. 

"I'm sorry," said the operator's voice 
from above them, "that's not for you. 
It got here by mistake. That's for 
Mr. Vidor, I'll be ready in a minute." 

"You run that test," said the pro- 
ducer. 

"Okey," said the operator. 

They ran it four times. 

"Well?" said the producer. 

"That's it," said the director and the 
star in chorus. 

TWO hours later a publicity man in 
the Metro-Goldwyn-Mayer office 
called a Santa Monica number and 
asked for a name written on a memo- 
randum before him. 
"Mr. Gordon?" 
"This is Mr. Gordon." 















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When Gavin Gordon was able to return to the studio after his accident, he did the 

prologue scenes of "Romance," in which he is an aged man. Above, George 

Wetmore adding a half century to Gavin. 



"We wondered if you could come in 
some time tomorrow and have some por- 
traits taken. This is the publicity de- 
partment at M-G-M. We'll need new 
photographs to go with the announce- 
ment." 

"What announcement?" said Gavin 
Gordon. 

"Why, that you're to play the lead- 
ing role with Garbo in 'Romance'." 

There was a long silence at the other 
end of the phone. Then a voice said, 
"My God!" and meant it. 

It isn't often that it comes to a 
human being to have his every wish 
gratified. Had Gavin Gordon been 
given a magic lamp and one wish to 
be fulfilled, he would have chosen to 
play Tom, the young minister opposite 
Garbo, rather than to be President or 
owner of a million dollars. 

When he first met her for talks con- 
cerning the story, he found her to be 
even more marvelous than he could 
have imagined. 

"She was so gracious," he told me, 
"so beautiful, but so kind. I had heard 
how aloof she was. But even that first 
day she put me at my ease, made me 
feel confidence that I could do the part 
the way she wanted it done. She was 
queenly, yes. But with the queenliness 
of every great artist. Far above other 
women, but with the greatest sweet- 
ness of manner and the most natural 
way of talking to you." 

THE starting date of the picture ar- 
rived. Gavin Gordon hadn't slept 
all night and when he got into his little 
roadster he was in a delirium of hap- 
piness. As he drove along Washington 
Boulevard, keyed to the highest pitch, 
ready for the great day of his life, an- 
other car turned out of a side street 
and crashed into him. 

He was thrown out onto the pave- 
ment and struck on his left shoulder. 

When he couldn't sit up, he found 
that the pain was excruciating. His 
arm hung at his side helpless. Red 
hot daggers plunged through him. But 
he thought of only one thing. "I won't 
be able to play the part. If they know 
I'm hurt they'll never let me start." 

The mountaineer blood told. Gavin 
Gordon got to his feet, set his jaw 
stubbornly, and drove to the studio. 

With infinite pains he put on a make- 
up. The sweat pouring down his face, 
he got into his costume. Holding him- 
self rigid, he went out on the set. For 
a solid hour he worked, upheld by his 
nearness to his idol, by his iron deter- 
mination to say nothing to anyone lest 
the part be taken from him. 

At the end of that hour he fainted 
in Garbo's arms. 

That time when he came to, he was 
in a hospital. He had a fractured 
collar bone, a dislocated shoulder and 
a mass of torn ligaments. But he tried 
to get up. He tried so hard that the 
nurses called frantically for the doctor. 

"I won't stay here," the boy shouted. 
"I'm all right. I'm not really hurt. I 
can stand it, let me go back." 

He struggled so, weak and half sick 
with pain and the worse torture of his 
fears, that he tore loose the dressings 
and rebroke the bone that had been 
set. 

Suddenly he heard a deep, sweet 
(Continued on page 108) 



106 



The New Movie Magazine 



How They Met 

(Continued from page 45) 

arrived. John mentioned his business — 
and Mickey, with a look at his watch, 
said "I can't talk to you now. I'm 
giving a party down at Sunset Inn and 
I've got to get there. I'm late now. 
You come along and we'll get a min- 
ute during the evening." 

John said he couldn't. His shirt was 
dirty, he needed a shave, and anyway 
he was too hot. Mickey told him there 
was a cute girl coming, and he could 
be her partner. John said he didn't 
want to meet any cute girls. But 
finally, being a conscientious Irishman, 
he went. At Sunset Inn he met the 
girl. She was Colleen Moore. Ten 
minutes later John had forgotten 
everything, and before the evening was 
over he had proposed — dirty shirt, 
whiskers and all — and been given an 
answer which wasn't too discouraging. 
That was how Colleen became Mrs. 
John McCormick. Now, alas, a divorce 
is impending. 

IT wasn't like that with Mr. and Mrs. 
Douglas Fairbanks, Jr. Joan Craw- 
ford had been meeting young Doug for 
several years— and she didn't think 
much of him, either. Their introduc- 
tion took place at a Hollywood party, 
soon after Joan came out from New 
York, and later she told somebody that 
she thought young Fairbanks was 
pretty high hat. They saw each other 
casually from time to time, said, "How 
do you do," and passed on. 

Then one night Joan drifted into a 
Hollywood theater to see the stage 
play, "Young Woodley." She didn't 
know that Douglas Fairbanks, Jr., was 
playing the role done in New York by 
Glenn Hunter. Joan's whole soul was 
stirred, she says, by his wonderful per- 
formance. On her way home, she 
stopped and sent him a wire to the 
theater, just to tell him how great she 
thought he was. The next day Douglas 
called up and invited her to dinner. 
She went. In June, 1929, they were 
married in New York. 

HAROLD LLOYD was looking for a 
new leading lady. Bebe Daniels, 
who had filled that role for several 
years, had left to go to Cecil De Mille. 
Thinking it over, Harold decided that 
he wanted a blond who was as oppo- 
site to Bebe as he could possibly get, 
so that the new individuality would 
stand out. One night he went to see 
a picture of Bryant Washburn's. Onto 
the screen flashed a picture of a blond 
who looked like a big French doll. Har- 
old let out a gasp and whispered to 
Hal Roach, "That's the one. There's 
the one I want for a leading lady." 

But it wasn't so simple. The title 
sheet listed her as Mildred Davis, but 
energetic search produced no Mildred 
Davis in Hollywood. A studio biography 
revealed that she had been born in Phila- 
delphia, but she wasn't in Philadelphia 
either. At last, through a newspaper, 
Harold located her in a girls' finishing 
school in Tacoma. She'd given up try- 
ing to get into pictures and gone back 
to school. Roach wired her, asking 
her to come down, and she came. 

The first meeting in this case nearly 
ruined everything. With the picture 
in his mind of the lovely blond doll 
on the screen, Harold waited for her 
to come into his office. Imagine his 
surprise and embarrassment, when in 
came a young lady wearing a large 
(Continued on page 109) 



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Joan Crawford, delightful 
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Dorothy Mackaill, lovely 
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an essential for stardom on the screen, with 
its many revealing close-ups." 

Of the 521 important actresses in Holly- 
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For at their request it has been made the 
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The loveliest Broadway stage stars, too, 
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even in Europe the screen stars have adopted 
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You will want to try this fragrant white 
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107 



The Heart of Greta Garbo 



voice saying, "Please do not do that. 
You are hurt, Mr. Gordon. We are so 
sorry. But if you will be good and 
take care of yourself, we will wait in 
the picture for you. I, Garbo, promise 
you that." 

Looking up, he saw Garbo, wrapped 
in a tweed coat, smiling down at him. 

Speech deserted him. He was nearer 
to tears than he had ever been since he 
was a kid. He lay back quietly and 
from then on he was a model patient. 
When discouragement or fear came 
upon him, when he thought of how the 
hand of destiny had struck him at the 
one moment that might spell disaster, 
he looked across at a big basket of 
roses that stood beside his bed. They 
had come with only a card, but on the 
card was the magic word, "Garbo." 

What he did not know until later was 
that at the studio Garbo was fighting 
in her own peculiar way to keep the 
promise she had made him. 

It may be that Garbo had heard all 



(Continued from page 106) 

the things he said that day in his de- 
lirium, may have looked into the boy's 
heart and been a little glad to be the 
ideal of such a man. No one will ever 
know that. But surely admiration of 
his courage and sympathy for his am- 
bition — things she can always under- 
stand — had entered her mind. She saw 
at once what this chance meant to him, 
what a long struggle lay behind it. 

IT had been a long time since Garbo 
had to threaten "I go home now." 
Her enormous popularity, the broken 
box-office records standing against her 
name, had made it easy for her to have 
things the way she wanted them. What 
Garbo wants, she gets. 

Whether or not she had to threaten, 
she wanted Gavin Gordon given his 
chance, she wanted him to continue in 
her picture. She said so when they 
suggested that they could not delay 
work, that they must get another lead- 
ing man at once. 



"Gavin Gordon plays that part," said 
Garbo. 

Having settled that, she did the fair 
thing to the company. With the di- 
rector she mapped out all the scenes in 
the picture in which he did not appear — 
the scenes she had alone, or with Lewis 
Stone, who plays the other man. At 
no small inconvenience to herself, she 
shot any part of the picture that the 
director thought best. When Gavin 
Gordon was able to be up, they did the 
scenes in which he plays an old man, 
where he could bend over and ease his 
hurt. 

"And she helped me through those 
scenes so wonderfully," he said. "She 
didn't think of herself and how it would 
be for her. She was so kindly, she al- 
ways made it possible for me to do each 
scene. I have only seen her that one 
time outside the studio. But I know 
that Greta Garbo is a great woman, 
and the kindest woman in the world." 

Maybe he is right. 



The Stars Own Favorite Stars 



see me cry! Still, that's how she hits 
me." 

Billie Dove 

GRETA GARBO, thinks Billie Dove, 
is one of the greatest if not the 
greatest Hying film actress. And in 
any case, she is her favorite. 

"I never miss a Garbo picture," said 
Billie enthusiastically. 

"She is so clever as an actress, be- 
sides possessing such infinite charm. 
I think actresses should study charm 
as well as acting talent." 

Ann Harding 

ANN HARDING prefers Greta 
Garbo to anybody on the screen. 
Asked why, she answered, "Oh, every- 
thing!" 

Then she expanded: 

"I admire her artistry, her inde- 
structible poise, her personality. For 
me she creates a more perfect illusion 
than any other screen player. 

"When I go to see a Garbo story, I 
believe in the leading character more 
truly than when any other actress fills 
the leading role. I don't find myself 
picking story and direction to pieces, as 
I often do in other cases. The illusion 
is complete for me, whether Garbo is 
playing the embittered Anna Christie 
or the glamorous Anna Karenina." 

Nancy Carroll 

HERE'S another vote for Garbo 
from the profession — that of 
Nancy Carroll. 

But, unlike Ann Harding, who likes 
Greta because she seems entirely real, 
Nancy Carroll, on the other hand, ad- 
mires her because she is elusive — un- 
real! Indeed, the Garbo must be po- 
sessed of the "infinite variety" with 
which Shakespeare press-agented the 
famous Cleopatra. 

"Greta Garbo is a superb actress,' 
says Nancy. "This, with her mysteri- 

108 



{Continued from page 37) 

ous fascination, makes her one of the 
most intriguing personalities of the 
screen. Every time I see her she re- 
veals a different characterization, and 
always a vivid one. Perhaps I like her 
because she doesn't seem quite real." 

Ruth Chatterton 

THOUGH Emil Jannings has left 
the country, he remains Ruth 
Chatterton's ideal. 



"I admire him for his great artistry. 
I learn something every time I see him 
on the screen," said Miss Chatterton. 
"He has deep sincerity. He plans his 
characterizations as an engineer pre- 
pares the blueprints for a tremendous 
architectural achievement. Because he 
believes in what he is doing, he never 
fails to convince his audiences, and he 
gives them genuine, intelligent enter- 
tainment." 




Joan Crawford is showing a brand new microphone to Governor Clyde Reed of 
Kansas, a visitor at the Metro-Goldwyn Culver City Studios. 



The New Movie Magazine 



How They Met 

(Continued from page 107) 

black hat heavily weighted with ostrich 
plumes, a long, black fur coat, and 
high-laced black shoes, with enormous 
French heels. The great comedian 
gasped, hedged, and almost told her 
to go on away, before the girl broke 
down and confessed. While she had 
been in Hollywood, she'd always been 
turned down because she was too young 
and too little. So when she came to 
meet Harold, she'd sneaked out with- 
out her mother's knowledge and rented 
a costume to overcome these difficulties. 
That tickled Harold, and he gave her 
a contract. 

It ended only when Mildred left the 
screen to become Mrs. Harold Lloyd. 

A FOOTBALL hero and the queen of 
the campus. 
They met during their junior year. 
Johnny Mack Brown, star halfback of 
the Alabama team, and Connie Foster, 
who was conceded to be the prettiest 
and most popular girl in school. They 
became engaged and, unlike a lot of 
college romances, it lasted. When he 
graduated from school, Johnny took a 
job as assistant coach so they could get 
married. In the" meantime, Johnny 
had been out to California to play 
Stanford in the New Year's Day game. 
Some Hollywood producer had seen 
him and he eventually was asked to 
come back and try for pictures. Of 
course, he brought his wife along — 
and they seem slated to live happy ever 
after. 

In the old days, when they were both 
struggling young extras, and later 
when they were just beginning to get 
a few parts on the screen, Dick Arlen 
and Charlie Farrell lived together at 
the Hollywood Athletic Club. They 
palled around together most of the 
time, but didn't often go out with girls 
together. While they were on location 
at Catalina Island in "Old Ironsides" — 
in which Farrell had his first lead and 
Dick was still playing bits — Farrell 
told Dick about a girl he'd met. "Her 
name is Jobyna Ralaton, and she's a 
peach. I'm not in love with her, 
but I sure like her. She's so regular — 
lots of fun and pretty and everything. 
I want you to meet her." 

Dick said he didn't want to meet 
her. He knew too many girls already. 
Besides, it sounded to him like Charlie 
really thought pretty well of this girl 
and he didn't want to cut in. Charlie 
kept on talking, and Dick kept on re- 
fusing. Finally one night, without tell- 
ing Dick, Charlie invited Joby to din- 
ner at the Club. When the two boys 
went down, she was waiting, and Dick 
found himself introduced and sitting 
opposite her before he could protest. 

That night started a real friendship. 
Joby became the pal not only of Dick 
and Charlie, but of Buddy Rogers and 
Gary Cooper, too. When the smoke 
cleared away, however, it was found 
that Dick and Joby were engaged — 
and while they were playing together 
in "Wings" they were married. 

"THE first time Jack Gilbert and Ina 
-*- Claire met, they didn't know it 
had happened. 

For a long time, Jack had admired 
Ina Claire more than any other actress 
on the stage. For an equally long time 
Ina Claire had thought Jack Gilbert the 
best and most attractive of the screen 
actors. 

(Continued on page 110) 




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109 



The New Movie Magazine 




Color Magic for the Lips! 

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How They Met 

(Continued from page 109) 



Shortly after Miss Claire arrived in 
Hollywood she attended a party at the 
home of the Barney Glazers. Jack Gil- 
bert also attended. The next day some- 
body said to Jack, "How did you like 
Ina Claire?" Jack said, "I've never met 
her." When told that he had, but in 
the crowd and confusion hadn't recog- 
nized her he had a fit. 

Somebody asked Ina Claire, "Well, 
do you think Jack Gilbert is as attrac- 
tive off the screen as on?" 

"I haven't seen him off the screen," 
said Miss Claire. 

"You have too," she was informed. 

The following day, however, they 
met again at a garden party at Frances 
Marion's — and three weeks later in Las 
Vegas, Nevada, they were married. 

NANCY CARROLL'S husband fell in 
love with her picture. 

Jack Kirkland, now a well-known 
playwright, was a reporter on The New 
York Daily News, and editor of the 
Ocean Edition of The Chicago Tribune. 
Sitting at his desk one day, turning 
over the pages of the latest edition, he 
saw the picture of a pretty show girl, 
and under it the title, "The Cherub of 
Broadway." It turned out that her 
name was Nancy Carroll. 

Jack knew he was sunk. He started 
a campaign to meet her. Finally he 
discovered that she had once attended 
the Katherine Gibbs Secretarial School. 
So he asked Gordon Gibbs, a friend of 
his, to arrange a meeting. Gibbs gave 
a party and invited Nancy Carroll, just 
so Jack Kirkland could meet her. He 
did — and it was worse than ever. After 
a whirlwind courtship, they were mar- 
ried just before Nancy joined the 
Passing Show in 1924. 



A 1 



T least one war romance. 
In the office of a well-known pub- 



lisher in Chicago was a pretty, dark- 
eyed secretary, who had just graduated 
from Northwestern University. Two 
or three times, a tall, handsome, blond 
actor came into the office to see the 
publisher. The quiet secretary smiled 
at him — and he began coming oftener 
than there seemed to be any reason 
4or an actor to see a publisher. 

Finally one day he invited her to 
come to the theater and see his show. 
She went. She went again. They 
met — often, but very quietly. Then the 
war came and the actor enlisted. He 
came, in his uniform, to bid her good- 
bye. But before he left, they were 
engaged — and as soon as he came back, 
they were married. 

The marriage license read, "Conrad 
Nagel and Ruth Helms." 

ONE day — probably it was raining 
or something and she was bored — 
Ruth Chatterton decided that she 
wanted to do a musical comedy. She'd 
been successful and idolized on Broad- 
way in everything else, and it would 
be something new, something she'd 
never done. Ruth is like that. Haz- 
ards appeal to her. 

It didn't take her long to convince 
Henry Miller and the Shuberts and 
they started plans to star her in "The 
Magnolia Lady." Then came the prob- 
lem of a leading man. Finally, the 
producers decided that the only man to 
play it was Ralph Forbes, a young and 
handsome English actor who had ccme 
over from London to play the lead in 
"Havoc." But Mr. Forbes laughed at 
them. He wasn't a musical comedy 
actor. He could, yes, but he didn't in- 
tend to. They went disconsolately to 
Miss Chatterton. 

She said, "Send him to me." 
Now it happened that Mr. Forbes had 
wanted to meet Miss Chatterton — who 




Presenting our old friend, Bill Hart, as he is today. The visitor in sombrero is 

Charles Mack, of Moran and Mack, "The Two Black Crows." Mr. Mack's estate 

is close by that of Bill Hart, at Newhall, Calif. 



110 



The New Movie Magazine 



hasn't, for that matter? — and so, still 
firm in his resolution, he went to tea 
at her New York apartment. In ten 
minutes he told her he thought it would 
be a great experience for him to play 
in musical comedy and he'd love to do 
the part. In two hours, he had told 
her that he loved her. In ten days they 
were engaged. In ten weeks, they were 
married. 

These Englishmen. They're so slow. 

JUST the opposite was the romance 
of Irving Thalberg and Norma 
Shearer. 

For five years they knew each other 
well, were in almost daily contact in 
their business and social relations, 
moved in the same social circle — and 
then one evening fell madly in love. 

While Norma was in New York play- 
ing her first pictures, she first heard 
of Irving Thalberg. In fact, she re- 
ceived an offer from Universal to join 
that company, and it was signed by the 
general manager, whose name was 
Irving Thalberg. She didn't take the 
offer — and that was that. 

Later, she did sign with the Louis 
B. Mayer Company. On her first visit 
to the studio, she introduced herself to 
a slim, good-looking young man in the 
reception room and asked him to show 
her the general manager's office. He 
ushered her in — and then sat down be- 
hind the desk. Later, she confessed 
that she thought he was the office boy, 
he looked so young. That was her first 
meeting. 

For the following two years, they 
worked on the same lot and Miss 
Shearer, as an ambitious young actress 
and Thalberg as a progressive execu- 
tive, saw each other frequently. After 
that, she was starred for two years 
and he was in direct charge of her pic- 
tures. They had many consultations 
about stories, cast, directors, etc. But 
they were just friends. As a matter 
of fact, they still called each other Miss 
Shearer and Mr. Thalberg. 

A year later, Mr. Thalberg's secre- 
tary called Miss Shearer one day and 
said that Mr. Thalberg would like to 
have her attend a picture opening with 
him that night. She did. On the way 
home, he called her Norma. And she 
fell in love with him. 

The courtship ended when they were 
married in September, 1927. 

BEN LYON and Bebe Daniels aren't 
married yet — but they soon will 
be, so we'll include them. 

When they first met, they took a 
positive dislike to each other. Which is 
funnier than ever because nobody ever 
disliked Bebe and very few people 
don't find Ben attractive. They were 
introduced at a party Bob Kane gave 
in New York. Bebe thought Ben was 
conceited and upstage, and Ben re- 
turned the compliment. 

They didn't see each other again for 
several years. Then they met on a 
rainy Sunday afternoon at Mae Sun- 
day's and played bridge. Both were 
amazed to find how mistaken they had 
been. To himself, Ben said, "I must 
have been crazy. Why, she's lovely. 
And so gracious and sweet." Bebe said, 
"This is a charming boy — so sincere 
and simple. I like him. I was certainly 
mistaken that first time I met him." 

That afternoon Ben asked her to go 
somewhere with him the following eve- 
ning. That week-end she was going on 
a big party to Agua Caliente. He fol- 
lowed her down there. And in a few 
weeks, they were engaged. 



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111 



The New Movie Magazine 




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The Low -Down on Holly 
wood High Life 



{Continued from page 43) 



I CAN remember the first butler in 
Hollywood — rather in Beverly Hills, 
since that is the real home of stars 
and not Hollywood at all. He was en- 
gaged by Charles Ray along with seven 
other flunkeys. Everyone hooted, for 
those were the days when men were 
men and helped themselves. People 
would ring Charlie's bell and then duck 
in the agapanthus just to see the butler 
and to give him what we now politely 
call the "bird." He was of a terrify- 
ing British deportment and little by 
little , everyone came under his spell 
and took to imitating his English. That 
was the beginning of head tones in 
Hollywood. Now you can't tell hosts 
from butlers, we all speak such good 
English. 

Wally Beery is another elegant whom 
Thyra should have met. The dexterity 
with which he handles peas on a knife 
has caused duchesses to raise eyebrows 
so high that their coronets toppled 
off backward. Of course, he's a charla- 
tan, as are all persons who seek to 
impress with society manners. The 
knife, of his own invention, has a slot 
the length of it; this enables the peas 
to hold their balance. In the bluff sin- 
cerity of his home Wally uses a fork; 
but he always carries the knife to ban- 
quets for visiting celebrities. 

MRS. WINSLOW was not invited to 
Bull Montana's wedding. I hap- 
pen to know she was not. It was very 
exclusive. It differed from the nuptials 
of the nouveaux who broadcast invita- 
tions by radio. I recently received an 
expensively engraved bid to the wed- 
ding of two celebrities whom I never 
had met. I didn't go. Many others 
likewise failed. The house was so poor, 
in fact, that the church doors had to 
be thrown open to the public in order 
to make a boxoffice showing. 

Bull's wedding transpired in his casa 
in Glendale. Gifts and telegrams were 
spread out on a bed upstairs. They 
came from Doug Fairbanks, Jack 
Dempsey, Estelle Taylor, Mabel Nor- 
mand — everyone who can be counted a 
person— I don't recall but it seems to 
me Queen Marie sent something she 
made herself. 

It was a lovely wedding, best de- 
scribed in the succinct Italian of Signor 
Montana himself: "Sure, sure, sure, 
everything swell, Herb. Nobody fight, 
nobody get sick." 

Bull wore the conventional checks 
with red cravat caught up by a dia- 
mond horseshoe, a family heirloom 
which Bull got from a burglar friend for 
a song in his barroom bouncing days. 

Bull and the signora visited me at 
my hacienda near Santa Barbara on 
their honeymoon trip to Canada. They 
visited me again on return. Bull was a 
bit upset, as bridegrooms so often are. 
He said the madame wanted to make a 



gentleman of him. Wha'th'ell ! She 
wanted him to take a bath every day. 
His father in Italy never took a bath 
in his life and he is eighty years old. 
She also insisted he shove the spaghetti 
to her before helping himself. Bull 
wanted to know how long she was stay- 
ing. He felt the fall guy, the sap, get- 
ting married to such an exotic. Like 
Vasquez, he was for going through the 
panes head first. But instead he has 
bowed to modern convention and gone 
through with marriage. Another testi- 
monial to the social sportsmanship of 
Hollywood, though, alas, not to its early 
traditions. 



I HAVE saved to the last, true orator 
I am, the clinching argument for 
Hollywood's social integrity. Permit me 
to present Madam Aileen Pringle in 
the person not the picture. She is to 
Hollywood society what Leo, the lion, 
is to Metro-Goldwyn Mayer. The trade- 
mark, the pillar, the very cornerstone. 
The integrity of Hollywood's brilliance 
rests on her. She is the brow, let the 
rest be what they may. The intelligent- 
sia of the world bent on a Hollywood 
holiday clusters to her cote as the bees 
to the flower, the birds to the tree, the 
flies to the keg. I mean she's IT with- 
out help from Paul Whiteman's band, 
Paul Howard's nursery, or Europe's 
hungry defunct majesties. 

You shall know her as Pringie. She 
will apprize you at once that her hair 
is colored, that at birth she was the 
most misshapen mess ever handed a 
horrified mother, that her god is Julie, 
who happens to be her mother and who 
can work necromancy with old Basque 
recipes as she did with beauty recipes 
in recreating Pringle, that she is so 
near-sighted she waves at everyone for 
fear of snubbing a friend and so makes 
many strange acquaintances, that she 
has a circle of loyal courtiers on whom 
she bestows the same equality of affec- 
tion and solicitude she does on her chow 
dogs. 

All this you learn instantly that you 
may feel at home or grope for your 
galoshes. Everything is all right with 
Pringie, so long as you don't bore her. 
If you haven't wit or humor, or the 
appreciation of same, I advise you do a 
Vasquez through the window into the 
gulch below. Several have made a clean 
getaway that way. But I can't be re- 
sponsible for punctures in the pan- 
taloons. 

PRINGLE is a show in one — like Chic 
Sale. In the loveliest English you 
ever heard since your presentation to 
Queen Mary, she recounts Hollywood 
episodes more graphically than the 
Specialist. She will tell you that a cer- 
tain little Yiddish producer has the 
greatest picture mind she ever en- 



Do you read HERB HOWE in NEW MOVIE every month ? 
O. O. Mclntyre, the famous columnist, says of Mr. Howe: "Herb Howe, 
the Hollywood chronicler, knows every motion picture star by first name." 



112 



The New Movie Magazine 



countered, that another power is the 
greatest so-and-so that ever bluffed a 
naive world, that a touted author has 
the inferiority complex so bad he snarls 
out of fear and that a great lover of 
the screen after writhing with her on 
the tiger skin leaned close and panted, 
"We're opening our new church next 
Sunday and would like for you to at- 
tend?" 

Pringie's Spanish castle clutches the 
rim of Santa Monica canyon where it 
may enjoy each evening the suicide 
of the sun as it plunges into the Pacific, 
bloodying sky and water. I particularly 
like the cozy card room with modern 
furniture in bright red leather. On the 
wall is an etching of a popular sash- 
weight murder and another, the title of 
which I forget but the significance of 
which is dead men tell no tales. There 
are also Japanese prints and glowing 
lamps on low tables. It is a room of 
revelation for kindred spirits after 
dinner. 

The dinner. Pringie has a new set of 
servants every other month. I imagine 
she is connected with the League of 
Nations, because one month they are 
Slovak, the next Italian, then Afric, 
Chinese, Hawaiian, bounding Arab. 
Each set is taught the recipes of Julie 
and so no matter the nationality the 
food is as exciting as the conversation, 
which is supplied almost wholly by the 
hostess. 

ONE dinner for instance: The butler 
this time is Italian with side- 
burns. The guests are male, save for 
Madeline Hurlock. Pringie stands at 
the head of the table carving a turkey. 
I sit next Pringie. It is like a ringside 
seat at a Mexican revolution. The 
butler mutters. Pringie mutters louder. 
I try to remember where the chapeau 
is. The butler enters operatically flour- 
ishing a knife. Pringie with a shout 
abandons the bird's remains and bounds 
upstairs. The butler pursues. There 
is a volley of verbs. We all go on eat- 
ing the bird with perfect social 
equanimity, like doughboys in trenches. 
Miss Hurlock is guiding the conversa- 
tion gently, as I recall, while Pringie 
is being threatened through the barred 
door of her boudoir. Eventually the 
frustrated butler appears on the bal- 
cony and commands attention. "Listen!" 
he yelps. "You so-and-so movie stars. 
I don't give a — bad word — for any of 
you! As for you, Matt Moore, you big 
loafer you've been eating here regu- 
larly and never give me a dollar. And 
you, Herb Howe, if you could write like 
you can eat. . . ." 

Pringie, the perfect hostess, projects 
courageously at this point and shrieks, 
"Oh sing II Trovatore, will you? . . . 
You mean horse!" 

The butler looks that. He considers 
singing, too, for he has been taking 
vocal like all of us in Hollywood. But 
in the act of inflating the diaphragm 
he notes we are going on with the dis- 
memberment of the turkey with that 
fine aplomb that betokens people of gen- 
tility. Enraged he stamps down the 
stairs snorting, "I'm through. I wouldn't 
yes nobody. Least of all you movie 
stars. Drtybsds and snsfbchs!" 

No one flinched, no one lost hold the 
wing, the leg, the neck of the turkey. 
Presently Pringie reappeared, her nose 
repowdered, and descended the stairs. 
She and Miss Hurlock served the rest 
of the dinner as though nothing unto- 
ward had occurred. Show me a Vandei - - 
bilt or Mountbatten who has such 
savoir faire, such grace under pressure. 



/ 



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NOT 



COUGH IN 



CARLOAD 



STATEMENT OF THE OWNERSHIP, MANAGEMENT, CIRCULATION, ETC., RE- 
QUIRED BY THE ACT OF CONGRESS OF AUGUST 24, 1912 

Of THE NEW MOVIE MAGAZINE, published monthly at Jamaica, L. I., N. X., for April 1, 1930. 
STATE OF NEW YORK 1 
COUNTY OF NEW YORK I SS- 

Before me. a Notary Public, in and for the State and County aforesaid, personally appeared J. E. 
Flynn, who, having been duly sworn according to law deposes and says that he is the Business Manager 
of the NEW MOVIE MAGAZINE and that the following is. to the best of his knowledge anil belief, a 
true statement of the ownership, management, etc.. of the aforesaid publication for the date shown in the 
above caption, required by the Act of August 24, 1912, embodied in Section 411, Postal Laws and Regula- 
tions, to wit: 

1. That the names and addresses of the publisher, editor, managing editor, and business manager are: 
Publisher, Tower Magazines, Inc., 55 Fifth Ave.. New York, N. Y. ; Editor, Hugh Weir. 55 Fifth 

Ave.. New York, N. Y. ; Managing Editor, Frederick James Smith. 55 Fifth Ave., New York, N. Y. ; 
Business Manager, J. E. Flynn. 35 Fifth Ave., New York. N. Y. 

2. That the owner is: Tower Magazines, Inc., 55 Fifth Ave.. New York. N. Y. ; Hugh Weir. 55 Fifth 
Ave.. New York. N. Y. ; Catherine McNeils, 55 Fifth Ave., New York, N. Y. ; Marie L. Featherstone, 
55 Fifth Ave., New York. N. Y. 

3. That the known bondholders, mortgagees, and other security holders owning or holding 1 per cent 
or more of total amount of bonds, mortgages, or other securities are: None. 

4. That the two paragraphs next above, giving the names of the owners, stockholders, and security 
holders, if any, contain not only the list of stockholders and security holders as they appear upon the 
books of the company, but also, in cases where Hie stockholder or security holder appears upon Hie hooks 
of the company as trustee or in any other fiduciary relation, the name of the person or corporation for 
whom such trustee is acting, is given; also that t lie said two paragraphs contain statements embracing 
affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and 
security holders who do not appear upon the books of the company as trustees, hold stock an. I securities 
in a capacity other than that of a bona tide owner; and this affiant lias no reason to believe that any other 
person, association, or corporation has any interest direct or indirect in the said stock, bonds, or other 
securities than as so staled by him. ,, ,..„.,., 

5. That the average number of copies of each issue of this publication sold or distributed through 
the mails or otherwise, to paid subscribers during the six months preceding the date shown above is: (Tills 
information is required from daily publications only). 

J. E. FLYNN. 
Sworn to and subscribed before me this 17th day of Marrh. lfllin. 

LAUUKTTA E. GANLY. 

(My commission expires March 30. 1931.) 



113 



The New Movie Magazine 



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You Can't Get Away From It 



(Continued from page 48) 



land, not to mention Europe. Rudolf, 
the senior Schildkraut, began with a 
traveling repertoire company, followed 
that with five years of being buffo comic 
in the Viennese Opera, then for years 
played Shakespearean roles at the Dra- 
matik Theatre in Hamburg. Max 
Reinhardt brought him to Berlin where 
he played Ibsen, Strindberg, Haupt- 
mann, and Shakespeare. Then came a 
call to America, and a glorious career 
here and abroad following. 

His son, Josef, played with his father 
abroad, and the training of the son has 
always been near the old man's heart. 
Concerning this it is related that dur- 
ing Josef's early days in films a di- 
rector was having a rather bad time of 
it with the cocksure and supercilious 
young fellow. The story is told as 
having happened with D. W. Griffith 
during the making of "Orphans of the 
Storm." True or false, it has the point 
in hand; papa came in and watched 
Josef doing the scene. Whenever Grif- 
fith would attempt to tell him how it 
should be done, Josef would with ob- 
vious restraint tell him tenderly that 
he was all wrong. Finally papa could 
stand it no more; he took Josef to one 
side, and it is related that he used 
harsh words to the son of his heart, 
ending by telling him that he was a 
very bad actor indeed. Josef wept at 
that blow and listened to reason from 
then on. His later successes prompt 
one to believe that the hand of Papa 
Schildkraut has often been of help in 
this career. 

ANOTHER father and son relation is 
- that of Willie Collier, Sr., and his 
son, Buster Collier. Willie Collier has 
been famous on the legitimate stage for 
some thirty years or more, stretching 



from the old Weber and Fields era to 
the present; he is now working in pic- 
tures. Buster, his stepson, has had a 
long screen career himself, and though 
he does not do the sort of roles that 
made his parent famous he is a celeb- 
rity on his own account. His mother 
played on the stage. 

Mae Busch came from an Australian 
theatrical family. 

Francis X. Bushman, Sr., and Jr., 
and the daughters of Bushman, all 
worked in films. Bushman, Sr., was 
a leading stock man in Columbus, Ohio, 
before making his sensational hit as the 
screen's first heavy sheik, co-starring, 
with Beverly Bayne. Lenore Bushman, 
one daughter, has married and retired, 
but played in films for a time. All the 
children played child parts in their 
father's films. 

Leila Hyams is a real child of the 
theater. Her mother, Leila Mclntyre, 
of the team of Mclntyre and Hyams, 
awaited her arrival back scenes, while 
the father played a single until the big 
event was over. The fateful night that 
little Leila was born, her mother was 
rushed from the theater across the 
street to a hospital in New York City. 
Later years found tiny Leila sitting on 
her little red chair in the wings, watch- 
ing her parents do their vaudeville 
skits and songs together. She would 
run out to bow and take the curtain 
with them. At five she went into the 
act; at sixteen she decided to get a job 
on her own and while she could not 
connect with a theatrical job she posed 
for advertising. 

Florence Lake and her clever brother, 
Arthur Lake, are children of a vaude- 
ville family. The parents, Arthur Sil- 
verlake and Edith Goodwin, toured cir- 
cuits for years. The two children have 




An unusual camera study of Sammy Lee, director of dance ensembles for Metro- 
Goldwyn-Mayer, selecting girls for the chorus of a forthcoming song-and-dance 
film. All the studios maintain permanent choruses, which are augmented from time 
to time for big ensemble scenes. Here's the reason why Broadway is losing its 

prettiest chorines. 



The New Movie Magazine 



done dramatic stock and vaudeville 
since the age of four. 

Ralph Forbes and his mother, Mary 
Forbes, are another two generations of 
stage family. Both are in pictures now. 

There are several actors and act- 
resses who have come to the screen 
from old circus families. Renee Adoree 
with her sister was born and raised in 
the sawdust ring in France, touring 
all over Europe in the troupe with her 
father. 

Rod La Rocque is the son of a fa- 
mous circus family. Though the line- 
age goes back to a title in France, the 
family is proud of its success for at 
least two generations in the field of en- 
tertainment. Esther Ralston comes of 
a circus family. 

Polly Walker, who played the femi- 
nine lead in "Hit the Deck," is a Broad- 
way player who is plentifully be- 
sprinkled with sawdust. Her uncle 
who raised her was a famous clown. 

BUSTER KEATON is the son of 
Joe Keaton of "The Three Kea- 
tons," an act which included his mother, 
his father, and Buster. The act was a 
knockabout act which toured vaude- 
ville for years, in which Buster was 
thrown about in a way to make parents 
in the audience cringe at the thought 
of the impending fatality. It would 
have been fatal for a child who had 
not been taught most carefully how to 
take his falls, as Buster was. Then 
when he got too big to throw about he 
went on his own, finally winding up 
in films with Roscoe Arbuckle in come- 
dies in 1917. His wife, Natalie Tal- 
madge, sister of Constance and Norma 
Talmadge, has two small sons who 
show every sign of taking up dra- 
matics. Their best sport is to go home 
after seeing one of their father's pic- 
tures and re-enact whole scenes. Some 
stunt will so appeal to them that they 
will be at it for days to the distress 
and anguish of all the members of the 
household. 

Charley Morton is another son of 
vaudeville. His mother and father 
toured as Mudge and Morton, his 
father, Frank Mudge playing in an 
act in which his mother, Augusta Mor- 
ton, sang. He traveled with his par- 
ents and played in their act from his 
earliest years. 

Eliot Nugent and his father, J. C. 
Nugent, are members of two genera- 
tions of a stage family. All the Nu- 
gents, Eliot's brothers and sisters, have 
been on the stage. 

Wallace Reid, one of the screen's un- 
forgotten heroes, was the son of Hal 
Reid, a playwright, and his life was 
bound up with that of the theater as a 
child. He diverged from this as he 
matured, but went back to it as a young 
man and achieved a success rarely 
paralleled. Some of the plays his father 
wrote were the most popular melo- 
dramas of a melodramatic age. One 
of these was "The Night Before Christ- 
mas" and there were many others. 

THE second generation of Foy has 
certainly carried along the tradition 
of their father, Eddie Foy. All the 
Foy children are in dramatic work, 
with the son Bryan writing and doing 
various sorts of things for films, 
mostly at Warner Brothers. 

Raymond Hackett, the young actor 
who played the son in "Madame X" 
with Ruth Chatterton on the screen, is 
the son of a stage mother, Mary 
Hackett. 

Richard Barthelmess claims no dra- 
(Continued on page 116) 




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The New Movie Magazine 



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You Can't Get Away From It 



(Continued from page 115) 



matic ancestry on his father's side, but 
his mother, Caroline Harris, was a 
noted character actress for years in 
New York. Her career began when 
Dick was a baby and half orphaned by 
the death of his father. The young 
widow turned to the stage as a means 
of livelihood, and did so well that she 
was soon known favorably in stock and 
road show companies. She played with 
Mme. Nazimova, with Sidney Drew in 
"Billy," with Mme. Petrova in "Pan- 
thea," and with Thomas Ross in "The 
Only Son." 

When Dick was school age there was 
the yearly routine of stock in Summer, 
and the road in Winter. Summers he 
spent with his mother, and often played 
small bits in the productions when there 
was need of a child, though he was in no 
sense a child actor. He grew up, then, 
with this knowledge of the theater as 
his background. It was not surprising 
that when money was scarce and he had 
an offer to go into "War Brides" that 
he left college in his junior year and 
started a dramatic career. He then be- 
came a leading man for Marguerite 
Clark and in 1918 went with D. W. 
Griffith, where he first achieved success. 

Mary Hay Barthelmess, daughter 
of Mr. Barthelmess and Mary Hay, mu- 
sical comedy star, is receiving all the 
training in dancing and music that she 
wishes and her father will put no ob- 
stacles in her way if she should de- 
cide, as she probably will, to take to 
the footlights as a career. She is a 
tiny, dainty, beautifully formed child, 
and it looks as if her destiny is sealed. 

RUTH ROLAND, for years a serial 
■ star, now making a return to films, 
has two generations of theatrical folk 
behind her. Her grandmother, Bar- 
bara Sherer, was a well known Tyro- 
lean yodeler; her mother, Lillian 
Hauser, was called "the California 
Nightingale" a generation ago in San 
Francisco. She was a protege of Ade- 
lina Patti, who wished to send her to 
study abroad, but marriage ended all 
that. The little daughter, now Ruth Ro- 
land, also had a maternal aunt who 
gave up a budding and a successful ca- 
reer on the stage to marry. Ruth 
herself has grown up in the circus, on 
the stage, and in pictures. 

A little actress getting a good grip 
on a career over at Paramount is little 
Mitzi Green, the child who appeared 
in "Honey," "The Marriage Play- 
ground" and other things. She is the 
daughter of stage parents, Joe Keno 
and Rosie Green. Rosie Green was a 
Ziegfeld Follies specialty dancer and 
was featured at the time that Mae Mur- 
ray, Fannie Brice, Nora Bayes, Grace 
La Rue, were being featured. 

Mitzi 's father, Joe Keno, started out 
with a troupe of Arab acrobats in Coney 
Island when he was thirteen. He 
traveled later with his own act all over 
Europe. He originated the silly kid 
in Gus Edwards' "School Days," ap- 
peared in Henry Savage's "Have a 
Heart," in Sam Harris's "Honey Girl" 
and in comedy roles with the Mitzi Ha- 
jos shows. 

Mitzi started out by urging her 
father to let her do an act in an actors' 
benefit when she was five. A vaudeville 
scout nabbed Mitzi for the Interstate 
and Orpheum Circuits. Then came the 
movies. 



TAYLOR HOLMES and Phillips 
Holmes, his son, are scions of a 
stage family, with film fame as well. 
The father went on the stage at seven- 
teen, as an entertainer, and then into 
stock companies. He was playing in 
New York when he met the actress, 
Edna Phillips, a Canadian, then bound 
for England. They were married a 
year later. Miss Phillips appeared 
with Sothern and Marlowe and with 
Richard Mansfield. Taylor Holmes was 
starring in musical comedies and farces 
in New York. After Phillips was born, 
Mrs. Taylor returned to the stage sev- 
eral times, but retired in a few years, 
permanently, after playing with her 
husband in some of the first films made 
in Chicago, notably, "Ruggles of Red 
Gap." Holmes himself continued in 
films for a time. 

All the Taylor Holmes family are 
now living in Hollywood, where Phil- 
ips Holmes is under contract at Para- 
mount. His father plays in legitimate 
productions and makes some talking 
picture shorts. 

June Collyer is the third generation 
of a stage family, beginning with Dan 
Collyer, her grandfather, Broadway 
stage star in years gone by. Dan en- 
joyed a fifty-four year career, begin- 
ning at the age of eleven years. June 
Collyer's mother was an actress for 
three seasons before her marriage to 
Clayton Heermance. She was with her 
father for two, then was starred in a 
melodrama, "Lost in New York." June, 
the daughter, started her career in 
school plays, and was overjoyed when 
she was offered a contract for films 
at the Fox studios. 

KAY FRANCIS has a family behind 
her with stage fame. Her mother 
was Katherine Clinton, well-known 
repertoire player who has been on the 
stage most of her life. Kay decided 
not to be a stage actress early in life, 
and it is in films that she has had her 
greatest vogue. 

Katherine Clinton took the child with 
her on her tours, and they lived to- 
gether while she was playing stock. 

Robert Armstrong comes by his dra- 
matic background through his uncle, 
Paul Armstrong, a well-known pro- 
ducer in New York. The yen for the 
stage had developed in Bob while he 
was in college and three months before 
graduation he left college with a 
vaudeville sketch called "The Campus 
Romance." Thence to New York where 
his uncle was producing "The Man Who 
Came Back," "Alias Jimmy Valentine" 
and "The Escape." With his uncle he 
learned all the elements of his art, 
both as manager and by acting in va- 
rious productions. After the war he 
ran across James Gleason while he was 
playing in stock and Gleason was man- 
aging a stock company in Milwaukee. 
The two teamed up and produced "Is 
Zat So?" which brought them to the 
fore in the theater. 

William Janney is another boy who 
got the stage virus through having a 
producer in his family. The father 
and son blossomed forth from what 
would not be considered a promising 
family tree from which to expect 
actors. The grandfather was a pro- 
fessor of mathematics and astronomy 
in an Ohio college; Janney's father, the 
professor's son, is a producer, notable 



The New Movie Magazine 




Richard Barthelmess plays a dashing aviator in his newest film, "The Dawn 
Patrol." When plans were announced for this air picture, Dick frankly stated 
that a double would do the sky stunts. He was in an airplane mishap some 
years ago — and you can't get him into the air again. That time his pilot died 
of heart failure while he was bringing the ship to earth. Dick had a narrow 
escape and doesn't want another. 



among other successes for "The Vaga- 
bond King." As a child, young Janney 
attended the School for Professional 
Children. There he was a classmate 
of Marguerite Churchill. He organized 
a children's production of "Merton of 
the Movies," presented at the Cort 
Theater, a performance which Alexan- 
der Woollcott referred to as "com- 
pletely beguiling." Following this he 
joined with Glenn Hunter's troupe in 
the real "Merton" and his career was 
under way. Though he met with con- 
stant objections from his father, who 
desired him to go to Yale, young Janney 
forged ahead, and his first picture 
break will be remembered as the young 
brother of Mary Pickford in "Co- 
quette." The laugh is that now father 
and son have got the professor grand- 
pa into the theatrical business, manag- 
ing some of the producing projects of 
Russell Janney. This is pretty near 
the only example of the virus working 
back in the family tree. 

ALICE WHITE is the second gen- 
■l\ eration of the theater in her 
family. Her mother, Marian Alexan- 
der, ran away from a straight-laced 
family and joined a chorus. After her 
marriage and the birth of Alice, the 
ambition continued, but destiny said 
no — and the brave little trouper died 
when her daughter was a baby of three. 
Alice herself felt dramatic aspirations 
futile, but she came to Hollywood just 
to stick around and see what would 
happen. It did, and the little script 
girl and switchboard operator fought 
her way up to stardom by sheer pluck 
and hard work. 

The mother of Lupe Velez, the fiery 
little cabaret entertainer who came up 
from Mexico City and stormed Holly- 
wood with marked success, was just 
such a singing, dancing entertainer as 
her daughter. 

Marguerite Churchill is the daughter 



of a producer who owned chains of 
theaters including some in South 
America. Marguerite grew up in the 
atmosphere of the theater, in the Pro- 
fessional Children's School in New 
York, always with the inspiration of 
her maternal aunt, Charlotte Cushman, 
among the most famous actresses of 
her generation. Marguerite distin- 
guished herself as a child in several New 
York productions and, at the early age 
of sixteen, played leading lady in 
"The House of Terror," in which she 
shrieked so charmingly that she went 
on into other successes. Her work in 
films has been under the Pox banner, 
her most popular to date being "They 
Had to See Paris" with Will Rogers. 
"The Valiant" shows her in a more 
dramatic role. 

There is every likelihood that the 
children of Will Rogers will follow his 
career; they all have been given train- 
ing in singing, dancing, riding, and in 
trick roping. Dorothy Stone, daughter 
of Fred Stone, who is such a pal of 
Will's, followed her father to the stage. 

Leatrice Joy, who has the custody 
of little Leatrice Joy II, daughter of 
John Gilbert, feels that she will be very 
happy if her daughter follows a dra- 
matic career. She says that a woman 
can have a much freer and fuller life 
on the stage than in any other walk of 
life. She is not hedged round with the 
smothering and petty atmosphere 
found in so many lines of work for 
women, and may develop her person- 
ality and carve out a most satisfactory 
life for herself on the stage or in 
films. 

This seems to be the opinion of many 
people interrogated as to whether they 
would wish to see their sons and daugh- 
ters follow their lifework. Nearly all 
feel that their children could not do 
better. To them the theater, the stage, 
the films constitute a nourishing, cher- 
ishing and encouraging mother. 




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The New Movie Magazine 




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Home Town Stories of the 

Stars 



(Continued from page 53) 



in the basket would fly all over the 
room. He would apologize as if his 
stumbling had been accidental. An- 
other favorite trick of his was to de- 
liver a sack of eggs, and after putting 
them in a chair he would almost sit 
down on them. 

"He always was mimicing people, 
and whenever he thought about it, re- 
cited. He was downright funny and 
everyone liked him, although he didn't 
make a success of delivering groceries." 

"If 'Pete' was fat he lost the extra 
weight before I knew him very well." 
Mr. Gray had regained the floor. "He 
was a pretty hard nut to crack, believe 
me. He was extremely fond of his 
mother, but he wasn't a mama's boy by 
a long shot. Say, you should have seen 
him box. He always wanted to take on 
the big boys and he did it very neatly. 
I remember one day when he boxed 
with a fellow named Pettijohn, who 
was one of the greatest ends the Uni- 
versity of Minnesota ever had. This 
football player was big. That didn't 
bother 'Pete'. He pulled on the gloves 
and gave Pettijohn a good walloping. 

PETE' was a hockey player when 
he went to Central High School, 
but he wasn't a whiz. There's no use 
making a Jim Thorpe of him. He was 
just an average boy. That reminds 
me of 'Pete's' method of 'crashing the 
gate' at the Hippodrome on the Minne- 
sota State Fair grounds where we used 
to skate. All of us, except 'Pete', had 
season tickets and we went skating 
every night during the winter. 'Pete' 
never missed a night, and he never 
paid a cent to skate. We'd walk in in 
a bunch with 'Pete' in the center. The 
gate keepers knew we had tickets, so 
would wave the mob by. They never 
caught the 'lame duck.' 

"Being a pretty good boxer gave 
'Pete' a taste for action. He liked a 
rough-and-tumble fracas, and never 
spurned an opportunity to expend his 
energy in one. I remember one in- 
stance, however, which almost cooled 
his ardor for battle. 

"It was a Saturday afternoon and 
the gang was fooling around the agri- 
cultural school campus. We were 
looking for trouble, and found it. The 



college cadets were drilling in the 
Armory. The big double doors were 
open because it was warm outside. We 
stood around outside and watched 
them for a while. Then someone sug- 
gested a snowball fight. There was a 
lot of snow on the ground, and it was 
ripe for throwing. That suggestion 
evolved into a better one: to pelt the 
cadets. We made armfuls of snow- 
balls and advanced toward the Armory. 
'Pete' gave the command to fire and 
the barrage began. I think 'Pete' 
aimed at the captain's jaunty hat. His 
marksmanship was superb. Sock! The 
icy pellet whisked the hat off the 
captain's head and carried it clear 
down to the floor. Meantime, the drill- 
floor was pretty well snowed under. 
The captain made a quick decision. He 
commanded the company to break 
ranks and re-form outside. 

"In less than a minute our gang was 
on the defensive. Two hundred and 
fifty cadets poured out of the Armory, 
and we took to our heels. They were 
fast and in a few minutes every one of 
us was being dragged or carried into 
the Armory. What followed was long 
remembered if not felt. We were made 
guests of honor at a "red eye" session, 
meaning that we were turned over 
barrels and lambasted with paddles. 
Oh boy! It didn't make any difference 
to those cadets whether or not we were 
just kids. Whew! I remember that 
'Pete' said he ate dinner standing up 
that night. I'll bet he slept on his 
stomach, too. I did, and the rest of the 
gang followed suit. That episode took 
all the ginger out of us for a while, 
'Pete' especially. 

" 'DETE' never did any acting until 
A he was in high school. Then he 
did it all the time. He could entertain 
a crowd and he never got the stage- 
fright. Ask old 'Doc' Johnson. (Mr. 
Johnson is a veteran trolley conductor 
in St. Paul.) He'll remember 'Pete'. 

"It was election night and the gang 
decided to go down town. We got on 
'Doc's' car. Everyone took a seat but 
'Pete'. He walked up to the conductor 
and took his cap. 'Doc' just stood and 
looked at him. Then Brimmer took 
'Doc's' coat. He took off his own hat 



In Next Month's NEW MOVIE 

HERB HOWE 

writes dramatically and colorfully on 

THE LAST DAYS OF VALENTINO 

telling many facts and details never before published. 

Every motion picture fan who loved the great 
Valentino will want to read this remarkable feature 



118 



The New Movie Magazine 



and coat and put on the conductor's 
uniform. Then he started down the 
aisle and collected the fares. He called 
out streets and rang the bell. I'll never 
forget 'Doc' He stood there with his 
mouth open. Didn't say a word. The 
car was crowded and everybody was 
laughing hilariously. 'Pete' never 
smiled. He was all business. When 
he had collected fares he went back and 
rang them up. The trolley had traveled 
more than a mile before 'Pete' relin- 
quished the conductor's cap and coat. 

"We rode back home with 'Doc' that 
night. He told us that 'Pete' didn't 
make a single mistake in collecting the 
fares. But, he kept his weather eye on 
Brimmer. Just a block away from our 
station 'Pete' started in again. When 
we left the car it was a mess. 'Pete' had 
piled the cushions in the middle of the 
aisle. 

"That ought to be enough to indicate 
what kind of a boy he was," said Mr. 
Gray. "And let me say this: 'Pete' 
Brimmer as Richard Dix is a real man. 
Nothing high hat about him. He is 
regular. Last summer he demanded 
that he be called 'Pete.' We wouldn't 
have called him anything else, for he's 
just plain 'Pete' Brimmer to us. We 
never miss his latest pictures and think 
he is getting better all the time." 

WHEN 'Pete' entered Central High 
School, in 1909, he had not the 
slightest idea of becoming an actor. 
He studied expression with Helen 
Austin as his instructor. Within a few 
months he became imbued with the de- 
sire to act. Miss Austin, who still is a 
member of Central's faculty, coached 
and advised him. He was apt, and ex- 
cept for one or two displays of pardon- 
able indolence, made rapid progress in 
his dramatic work. 

Thespian Brimmer made his first 
stage appearance the latter part of his 




Richard Dix, as he looked when he made 
his first trip back home after adopting 
the stage as a career. Doesn't look 
much like an actor? You never can tell. 



freshman year. He was inconspicuous 
as the policeman in Richard Harding- 
Davis' play "Miss Civilization." He 
advanced a notch in 1910, to portray a 
sailor in the operetta "The Mocking 
Bird." Even though the part appears 
to be insignificant, "Pete" gave it a bit 
of color. 

In 1911, the potential film celebrity, 
rose to stardom. He was "Voohamba" 
the principal character in the operetta 
"The Cingalee." 

"Ernest (she prefers to call him 
that) was very good in this part," 
Miss Austin recalls. "He gave a very 
convincing performance and became 
the idol of the girls. Ernest was a 
nice boy. He was slim and handsome. 
Of course, he had lots of spirit and was 
in his element as an entertainer. I 
have followed his career very closely, 
and I think he is a very polished actor." 

Out of High School "Pete" was set 
on a stage career. His father har- 
bored a perfectly natural abhorrence 
of the thought of his son as an actor. 
He spoke very frankly about it, too. 
"Pete" was resolute. His mother 
understood. She counseled him to have 
patience. Father Brimmer said some- 
thing about Ernest going to work. 
"Pete's" brother, the late Dr. H. M. 
Brimmer, obtained employment for his 
brother in a wholesale house. The 
youngster worked for a while, but he 
was too much of a clown. His person- 
ality and wit demoralized the rest of 
the employes and he lost the job. He 
didn't care. "Pete" was thinking of 
the stage. 

OVER-RIDING parental objections 
young Brimmer enrolled in the 
Northwestern Conservatory of Music 
and Dramatic Art, in Minneapolis. 
He played in the school productions of 
"The School for Scandal," "She Stoops 
to Conquer," and "Romeo and Juliet." 
He was acclaimed as a "find" by Twin 
Cities critics. It was during his work 
in the school that the episode at the 
musicale occurred. 

The acclamation of St. Paul and 
Minneapolis theatergoers was the 
straw which broke the camel's back. 
Parental objections to a stage career 
were withdrawn. After a season with 
a St. Paul stock company "Pete" 
turned his face toward the East and 
Broadway. He assailed New York 
booking offices as Richard Dix. His 
first part was in "The Moth and the 
Flame." After this he worked for 
Belasco and Arthur Hopkins. 

The West beckoned the rising young 
actor. On his way to Los Angeles to 
become a member of a stock company 
there, he stopped for a visit w:th his 
parents, who now live in his Hollywood 
home. He also called on his old pals, 
and held a few new babies. The old 
gang half expected to see a sophisti- 
cated and arrogant fellow in the young 
actor. His head hadn't enlarged a 
particle. Just the same "Pete" Brim- 
mer who skipped out for New York a 
year before. 

Less than a year later he made his 
motion picture debut with Helene Chad- 
wick in "Dangerous Curves Ahead." 
The St. Anthony Park crowd attended 
the first St. Paul showing in a body. 
Several went back to see it a second 
time. A few of the girls had dis- 
covered "that silly Brimmer boy" was 
handsome. They never miss his latest 
pictures. 

But, only in motion pictures can 
"Pete" Brimmer come back to the old 
home town as Richard Dix. 




never 
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COSMETICS 



119 



The New Movie Magazine 



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"he Drama of Lila Lee 



{Continued from page 30) 



"Let her stay in the act while we are 
here," said Gus Edwards. 

She stayed. In those few days, two 
things happened which v/ere to change 
her life entirely. Without either of 
them, she might have stayed on in 
Union Hill and married some young 
man and the American public would 
have missed two idols — Cuddles and 
Lila Lee. 

Her success with audiences continued. 
On the third night they gave her a 
little business in one of the skits and 
she brought down the house. She was 
so very little, and so very solemn, and 
she looked exactly like a dark-haired 
Alice in Wonderland. From all I can 
find out, there never was a cuter or 
more lovable small child on the Ameri- 
can stage than this one. Her appeal 
for audiences was like that of the child 
Jackie Coogan. 

More important even than this, Mrs. 
Gus Edwards had fallen madly in love 
with her. 

T ILLIAN EDWARDS was— and is— 
-L' a remarkable person. No woman 
connected with vaudeville has ever been 
more deeply loved, more thoroughly re- 
spected. 

Before her marriage to Edwards she 
had been a rich widow of definite so- 
cial position. A highly educated and 
traveled lady, with a background some- 
what different to that of her husband 
or most of the other people who fol- 
lowed the vaudeville profession. Into 
this new world where love had led her 
she brought the same graciousness and 
tact and sweetness which had made 
her popular and beloved in her own. 
It wasn't many years before Lillian 
Edwards became a tradition in vaude- 
ville theaters — a mother confessor to 
many harassed girls, a friend in need 
to many a man. 

The one great disappointment of her 
life was that she had no children. Al- 
ways she had longed for a little girl of 
her own. 

"Everyone always seemed to want 
blond babies," she told Lila once, "but 
I didn't. I had always dreamed of a 
little girl with long, black hair and a 
little round face." 

Three days after she first saw little 
Gussie Appell she knew that no other 
child would ever take the place of the 
child she had never had. 



"I must have her, Gus," she said, 
"I love her already. I'll be so good 
to her and make her so happy." 

They put it up to Mr. and Mrs. 
Appell. 

This story has nearly always been 
told wrong. Over and over it has been 
written how the Edwards found the 
tiny child in the gutter, ragged, hun- 
gry, dirty and neglected. How they 
adopted her and cared for her and she 
didn't even know who her mother and 
father were. 

PROBABLY it would make a better 
story that way," says Lila Lee. "But 
the truth is different and very easy to 
prove. There are many people who 
know it. I believe anyone who likes me 
on the screen would rather have the 
truth — even if it isn't quite so ro- 
mantic. We were not rich. Far from 
it. My people were — just folks. They 
both worked hard. But I wasn't a 
waif by any means. I would be grate- 
ful if you would tell it as it really 
happened, in justice to my mother. The 
other -story has hurt her very much. 
She was always a good mother. She 
loved me dearly and never lost sight 
of me, and when in the end I needed 
her she came to me at once and has 
always stood by me. She gave me up 
because she thought I would be better 
off and have more of a future with 
Mrs. Edwards." 

"Like everyone else who ever met 
Lillian Edwards, my mother adored 
her. She realized that she had char- 
acter and money. She understood that 
a woman like that could do more good 
for me than she could. She had always 
dreamed that I might some day see the 
world, and have an education, and not 
have to work at hard, unpleasant 
things all my life as she had done. 

"America hadn't fulfilled her dreams. 
But she thought that with such a start 
she might see me have what she de- 
sired for me. So she allowed me to go. 
But we were never wholly separated 
and I was never adopted by Mr. and 
Mrs. Edwards. My mother would not 
allow that." 

MUCH of that was to come out 
years later in a court suit which 
took up many headlines and at last 
freed the little girl from many mis- 
understandings and much confusion. 



Who is the most dreaded actress in Hollywood? 
Whose name is poison to every film star? 
Who steals every film she is in? 

MARIE DRESSLER 

Adela Rogers St. Johns tells you all about the real 
Marie Dressier in next month's NEW MOVIE 



120 



The New Movie Magazine 



There was a long talk that night in 
the little hotel lobby after Gussie had 
gone to bed. The father was willing 
enough. If it had been a boy, that 
would have been a different matter. 
But girls were a problem for poor folks. 
It was a great chance for this little 
thing, to be taken by such fine people 
and trained in a business where there 
was much money and prestige. 

But the mother was silent, her hands 
folded over her stomach, her fat, placid 
face drawn with pain and indecision. 
All night, after her husband had begun 
to snore peacefully at her side, she 
lay awake, thinking. In the morning, 
she said that the child might go. 

"So, it is best for her," she told Lil- 
lian Edwards. 

A LITTLE frightened, but alto- 
gether intrigued by this amazing 
new life, Gussie Appell left Union Hill 
and became a child of the theater. She 
wasn't quite five years old. She ceased 
then to be Gussie Appell. She became 
"Cuddles" on the billing and in every- 
day life. 

That name, which was to be known 
to vaudeville audiences, in every big 
town and most small ones all over the 
United States and Canada, came into 
being automatically. Somehow she sug- 
gested Cuddles. Everyone wanted to 




Reginald Denny, dressed as an English 
woodman of olden times, in the masked 
ball sequence of Cecil De Mille's 
"Madame Satan." Probably you saw 
Denny's many Universal comedies. Here 
is a histrionic departure for him. 



cuddle her. And she accepted it all 
with childish philosophy. Too young 
to miss her mother and her home after 
the first week or two, she turned the 
whole love of her heart to Lillian 
Edwards. 

For six years, Lillian Edwards 
was her mother in thought, word and 
deed. They were never apart. To this 
day I am sure that Lila Lee loves her 
foster mother better than any woman 
on earth. The formative years, the 
sensitive years when impressions are 
deepest, belonged to Mrs. Edwards and 
she built up ties that were stronger 
than those of blood. 

"I can never forget all she did for 
me," Lila told me. "She was a beauti- 
ful character, unselfish and kind al- 
ways. I owe her a debt I can never 
repay. The trouble that came later 
was in no way her fault and it never 
touched the feeling between us. She 
knew that I had to do what I did and 
she has such justice that I know she 
loves me still." 

With the departure from Union Hill 
began eight years of a strange and un- 
usual life, a life very different from the 
one usually followed by children. 

I have never believed much in the 
stage as a place to bring up young- 
sters. The picture has often been 
painted blacker than it is, but at best 
it does something, as a rule, to rob 
children of that precious gift of child- 
hood. They are too soon forced into a 
grown-up world. The adulation, the 
showing off, makes them precocious 
and destroys the simple sweetness too 
soon. 

But that was not true of Cuddles. 
It may be that she has a naturally 
humble and simple nature. It may be 
that Mrs. Edwards counteracted the 
poison. But it is undoubtedly true 
that no stage child was ever in and yet 
so little of the theater as this small 
prima donna. 

The very essence of Gus Edwards' 
success lay in the fact that he did not 
allow his children to become stagey, did 
not want them to act nor to show off. 
Always he strove for naturalness, for 
simplicity. If he could get them to be- 
have on the stage like real kids, he was 
tickled to death. They were dressed 
like stage children and they never used 
make-up. 

WHEN Lila Lee came to Hollywood 
to be a star in pictures for Lasky- 
Famous Players in 1918, she had never 
had a bit of make-up nor a speck of 
grease-paint on her face and she had 
been on the stage for eight years. 

Twice a day she went to the theater, 
that is true. For six years twice a 
day she put on little white pique or 
white organdie frocks and Mrs. Ed- 
wards tied the wide sashes about her 
little stomach. Then she went out on 
the stage and won her listeners with 
her little songs and skits. They didn't 
teach her to dance — they just allowed 
her to go out and dance as a kid would. 
Her singing was slightly off key, but it 
was the real kid stuff, with imitations 
of which the Duncan sisters later made 
themselves famous. 

That was all Cuddles knew of the 
theater — those brief intervals daily of 
half hours. 

Outside that she lived in the best 
hotels with Mrs. Edwards as a constant 
companion. When they traveled from 
one town to another she and Mrs. Ed- 
wards shared a drawing room. A tutor 
accompanied them everywhere, and 
Cuddles received an excellent education. 
(Continued on page 122) 





H€ 



u like, 

WALTZ 



121 



The New Movie Magazine 




The Drama of Lila Lee 



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{Continued from page 121) 



GEORGIE PRICE, her partner in 
the act, was her playmate, almost 
like a brother to her, and there were a 
number of other children in the act. 
In many big cities the Edwards — 
especially Mrs. Edwards — knew the 
nicest people, and Cuddles and Georgie 
were allowed to visit their beautiful 
homes and play with their youngsters. 

The theater itself was just a place 
to play. There she and Georgie worked 
out funny imitations of other acts on 
the bill, just as kids at home imitate 
their sedate elders. And she and 
Georgie were a very close corporation. 
They might turn on each other, kick, 
scratch, claw and bite. But let an 
outsider stick his nose in and they 
presented a united front. 

Of course, there were things which 
happened outside the normal experience 
of children. 

Once when they were making an un- 
expected tour of one-night stands 
through Texas, they encountered an un- 
usual theater. The basement was the 
jail, the ground floor was occupied by 
the theater and the fire department, and 
the second floor was the courthouse. 
The police officers served as jailors, 
firemen, and in this emergency, as 
stage hands. 

When Cuddles, her tender heart 
touched by their plight, requested that 
the officers allow all the men in jail 
to come one night and see the show, the 
gallant Texans complied. The entire 
population of the jail occupied the gal- 
lery and cheered Cuddles to the echo. 

"They behaved beautifully," she told 
me. "I was so sorry for them. I spent 
all my money — and so did the other 
kids — giving them things to eat. We 
tried to let them all out before we left, 
but fortunately we didn't get away with 
it." 

DURING a Southern tour when she 
was nine, Cuddles had her first 
love affair. He was twelve, the son of 
some old friends of Mrs. Edwards' and 
Cuddles thought he was the nicest boy 
she had ever met. While they stayed 
in the Southern city, the affair waxed 



apace and afterwards they wrote for 
weeks and made plans to be married as 
soon as he could support her. 

But one day he wrote her a letter 
in which he mentioned that another 
girl was "stuck on him." Cuddles didn't 
approve of that. So she never an- 
swered the letter, and she never saw 
him again until after she was a fa- 
mous movie actress and had married 
James Kirkwood. 

Then, being in -Los Angeles, he tele- 
phoned her and went to call. But the 
old spark was dead. They had nothing 
to say to each other — and parted as 
quickly as possible. 

There was the time, too, when Cud- 
dles herself was arrested. That was in 
Rochester, New York, and after the 
advent of Minnie. 

In 1916 Gus Edwards stopped act- 
ing himself and began to produce and 
direct a number of acts. So Mrs. Ed- 
wards no longer accompanied Cuddles. 
In her place she sent Minnie, who was 
afterwards to become famous in Holly- 
wood as a fighter and a watchdog of 
the first water. Minnie was a big Ger- 
man woman, motherly, fearless, abso- 
lutely uninterested and unimpressed 
by anything except Cuddles. That was 
her weakness and woe betide anyone 
who crossed her trail there. 

IN Rochester, as in many other places, 
it was necessary to get a permit 
from the Gary Society before a child 
could perform. The stage manager had 
procured a permit for Cuddles, but he 
didn't know that in Rochester there 
were permits and permits. Cuddles' 
permit allowed her to appear on the 
stage and talk, but it did not permit her 
to sing or dance. 

When she came off the stage after 
her first number, a large and de- 
termined detective was waiting and pro- 
posed to take her forthwith to the De- 
tention Home for Wayward Girls. But 
he found himself facing Minnie. He 
pulled Cuddles one way, and Minnie 
pulled her the other. Minnie won. 

"You don't take her without me," 
said Minnie. 




Paul Lukas is a screen villain with a happy home. Just to prove it, we reproduce 
Paul's Hollywood home, with Paul and Mrs. Lukas on the steps. 



122 



The New Movie Magazine 



The battle was hot and heavy for 
some time. Minnie finally was allowed 
to go along. Outside the stage en- 
trance, the detective — -"I wish I could 
remember his name, he was so mean 
and cruel to me" says Lila — had the 
"Black Maria" waiting for this eleven- 
year-old child. And they took her to 
the Detention Home. 

But it happened that Gus Edwards 
was in town and he got bail for her. 
The next morning she was to appear 
before the judge. 

"We knew," Lila said, "that they'd 
keep me there a long time. So that 
night Mr. Edwards put on a long fur 
coat. I sneaked in under it behind him, 
and we walked out of the hotel right 




Catherine Moylan, recently of the Follies 
and now of Metro-Goldwyn, enjoys a 
few hours at the beach. Luckily, a 
photographer for THE NEW MOVIE 
was close by. 



under a policeman's nose. I was so 
little they never saw me. We got on 
a train and went back to New York. 
Mr. Edwards finally got it all fixed up." 

WHEN Cuddles was twelve, she be- 
gan to get mash notes and invi- 
tations to supper. Minnie took them 
all and threw them into the waste 
basket. She didn't realize that over 
the footlights Cuddles looked a slim 
and lovely sixteen. 

But in Washington, D. C, they en- 
countered a young man who was not to 
be put off. Unanswered notes, ignored 
invitations to this and that, did not 
deter him. Finally he wrote that on a 
certain evening he and all his fra- 
ternity brothers would be waiting at 
the stage door and that they intended 
to take Cuddles to a college dance. 

True to his word, he appeared. With 
him were twenty other stalwart young 
collegians. They waited — and waited. 
Finally they asked the doorman for 
Cuddles. 

"Why, she went out 'bout half an 
hour ago," he said, "didn't you see her? 
She walked right by you." 

The youth protested. He considered. 
Finally he said — "Not — not that little 
brat in sox and a blue tam-o-shanter?" 

"Sure," said the doorman, "that was 
her." 

"I don't believe it," said the young 
man. "I thought she was putting all 
that on." 

T was in New York in 1918 that 
Jesse Lasky, head of the leading 
studio of Famous-Players-Lasky, ap- 
proached Gus Edwards, with an offer to 
star Cuddles in pictures. He had seen 
her act at a big New York vaudeville 
house and he thought he had a great 
find. 

They discussed terms and finally a 
five-year starring contract was signed 
by Gus Edwards as Cuddles' legal 
guardian. Several long sessions were 
held to find a name for her. And just 
as she had left Gussie Appell at Union 
Hill, when she boarded a train for 
Hollywood with the faithful Minnie, 
Cuddles was left behind. 

Miss Lila Lee had come into being. 
Jesse Lasky had selected that name for 
his new star. 

No girl ever came to Hollywood with 
such a fanfare of trumpets, such ad- 
vance publicity, such predictions for 
instantaneous success. Lila Lee was 
the Great Find. Without ever having 
seen a camera, she was a star. With- 
out knowing what a stick of grease- 
paint was for, she was to be raised to 
stardom. Without ever having played 
a role in her life, she was to carry an 
entire story and startle the world. 

The beauty which had developed in 
this thirteen-year-old child, with her 
long cloud of black hair and her great 
dark eyes, her wonderful personality 
that had always swept across the foot- 
lights and fascinated audiences, had 
convinced the entire Famous-Players- 
Lasky organization that she would need 
no preparation. 

At thirteen she was a movie star. 
Hollywood had been conquered with- 
out a blow. 

She made one starring picture and 
was the biggest flop the motion picture 
industry has ever known. 

(Next month New Movie will present 
the second installment of Lila Lee's life 
story, relating her stardom at thirteen 
— and its tragic consequences.) 



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123 



The New Movie Magazine 



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UNGUENTINE 



Hollywood's Younger 
Generation 



(Continued from page 34) 



Mabel Normand, when she first arrived 
in Hollywood in 1914, you were stopped 
by her beauty and her inescapable 
genius for laughter. 

(Please remember now that I am 
talking entirely from the point of view 
of the screen — of making motion pic- 
tures — of talent for stardom which is 
really great.) 

WHERE are we going to find an- 
other Gloria Swanson, who can't 
be downed by bad pictures, absence 
from the screen, competition of any 
kind? 

There wasn't anything very polished 
about Gloria Swanson when she was a 
kid in Hollywood. But even then, she 
had an arresting quality, a unique ap- 
pearance and personality that made 
your eyes follow her when she walked 
across a room. Somehow it seems to 
me now that there was more power and 
more courage in her awkward and un- 
taught youth than there is in all these 
exquisite young creatures who photo- 
graph so beautifully. 

Where among them are we going to 
get the versatility and elegance, the 
strong dramatic art, of the woman 
who could play "Smilin' Thru" and 
"Within the Law" and "Kiki" and 
"The Eternal Flame"? The woman 
who could go on year after year in any 
story and always give a fine perform- 
ance and always delight your eye and 
your poetic sense? Norma Talmadge 
still stands on her long past record as 
the best all-around actress we have had 
on the screen. Greta Garbo has 
equalled, perhaps surpassed her, in exe- 
cution, but it remains to be seen 
whether she can carry on as Norma 
has done. 

Marion Davies, Bebe Daniels, Lillian 
Gish — you couldn't mistake one of them 
for the other. 

And, when it came to daring, when 
it came to the bizarre, the startling, the 
younger generation doesn't seem to 
have much on Mae Murray of "The 
Merry Widow." 

THE foreign importations, leaving 
out always Garbo, who is without 
time or nationality to me, don't reveal 
to me the equal of Pola Negri when 
she first arrived and before she was 
killed by rotten pictures and bad 
handling. What an actress, and what 
a person! Grant them their very best, 
grant them ability and beauty and a 
right to a certain kind of stardom, but 
can anyone honestly place Lupe Velez, 
and Lily Damita, and Dolores del Rio, 
and Fifi Dorsay beside Pola? 

The decade just passed, the decade 
which ended in the creation of talking 
pictures has seen the definite establish- 
ment of certain great stars, who will 
probably hold their position on the 
screen, as stage actresses have held 
their public, from generation to genera- 
tion. Gloria Swanson, Bebe Daniels, 
Greta Garbo, Mary Pickford, possibly 
Norma Shearer, seem headed for per- 
manence such as Ethel Barrymore and 
Mrs. Fiske have enjoyed on the stage. 
Corinne Griffith and Colleen Moore, 
with full lives and solid fortunes, may 
retire from hard work after glorious 



careers. Constance Talmadge has defi- 
nitely left the screen. Norma Tal- 
madge's fate is in the balance and she 
knows it. If she makes a great picture 
of "Du Barry," she will join the* group 
of those whose fame continues. If she 
doesn't, I think it is doubtful what her 
plans may be. 

Clara Bow is also "on trial." The 
latest of the really great stars — or 
perhaps she and Garbo are contem- 
poraries — she has all the essentials if 
she cares to use them. Unless it proves 
that the public recognizes her only as 
a type and not as an actress. "Type" 
stars never last very long. The flair 
dies down and they vanish. But Clara 
is a fine actress, if she's given a chance. 
It remains to be seen. 

The talkies seem to have frightened 
Janet Gaynor, but she should survive 
them. Mary Nolan is the most colorful, 
the most beautiful, of the newcomers. 
If her health or her temperament don't 
wreck her, she may be one to reach the 
old great heights. Joan Crawford and 
Nancy Carroll are good bets — but I 
think they've reached their limits. 
Maybe not. 

MORE and more, the picture is be- 
coming the thing. Girls are se- 
lected for parts, not parts for the girls. 
The younger generation is fitted into 
the giant scheme of making good box- 
office pictures for the public. In the 
old days, the brilliant group who be- 
came the great names of screen history 
fitted the motion picture industry 
around themselves. They weren't se- 
lected by a producer to do such and 
such things, to fill such and such a 
place on the program. They shot up 
into public demand, and a producer be- 
gan to make plans for them, and find 
stories to exploit them, and directors 
to bring out their best work. Now the 
director looks about for someone who 
"looks the part," or can sing a song, or 
dance a dance a certain way. 

It is bound to submerge personality 
to some extent. It is also bound, I be- 
lieve, to be satisfied with less. The 
picture now carries itself and the 
actors. Ten years ago, the star carried 
everything. 

This won't last. From somewhere 
big talent will come, as Ruth Chatter- 
ton came — as Clara Bow and Garbo 
came — because the public can't love the 
best picture impersonally as much as it 
loves the great figures that stood out. 
The success of Maurice Chevalier 
proves that. 

William Powell, Ronald Colman, 
Chevalier, Bancroft, prove the desire 
of the audiences for strong characters 
— definite and unmistakable characters. 
There is only one Colman, one Ban- 
croft. The need for such things as 
were offered by stars like La Marr and 
Swanson, Lillian Gish and Pickford, 
will in the end bring outstanding girls 
and women forward. 

But they're more apt to come from 
the barber shops of Sweden or the 
streets and tenements of Brooklyn, as 
came Bow and Garbo, than from the 
present crop — the so well-behaved and 
so ladylike younger generation of 
Hollywood. 



124 



The New Movie Magazine 




Girls, Bill Powell has shaved off his mustache! Look above, at the left. You will 
see Powell, sans mustache, in "Facing the Law." At the right, the last appearance 
of Bill's mustache, in "The City of Silent Men." The mustache was exactly five 

years old at its demise. 



The Unknown Charlie Chaplin 

{Continued from page 26) 



TIT" HEN not working, which was half 
VV the time, it was his custom to 
telephone from his Beverly Hills man- 
sion each day and request that certain 
of his employees be sent to him. If 
the order came late in the evening, we 
considered it from "the little genius," 
our pet name for him. 

One Saturday afternoon I was called 
for, and upon arriving was told that I 
was to accompany him to dinner that 
night. He had suddenly grown tired 
of two other men and had suddenly de- 
sired my company. I saw that he was 
in a dark mood and, sensing tedious 
hours ahead, I looked about for a 
means of protection. 

Leaving the mansion to go on an 
errand in Hollywood, I had the good 
fortune to meet Lita Grey at the 
studio. Knowing that if she should 
"accidentally" drift into the Mont- 
martre, where I guessed we would go 
for dinner, that he would probably in- 
vite her to dinner and send me home, I 
asked her to come to the restaurant. 
She agreed to make it appear acci- 
dental. The plan nearly worked. 

At eight o'clock that night Chaplin 
took me to the Montmartre. As we 
walked nonchalantly toward his ac- 
customed table, he stopped suddenly. 
For there sat the two men of whom he 
was tired. 

Chaplin turned about, saying "No 
more privacy than a shoe clerk," and 
walked with me out of the restaurant. 
We went to another cafe. It also was 
crowded. 

His Japanese chauffeur followed us 
in the car. 

Chaplin decided to go to the Ambas- 
sador Hotel. 

ONCE there, we remained at the 
same table for over five hours. I 
was completely talked out. 

Chaplin watched the dancers glid- 
ing about. 



At last a Spanish girl began to 
flirt with him. My heart beat fast. 
If she would only come to his table, 
he might excuse me. I praised the 
girl's beauty for an hour. She danced 
every now and then, while the come- 
dian's eyes followed her. Finally, in 
desperation, I said, "Why don't you 
chat with her, Charlie? She's very 
lovely." 

And the little genius answered, "I'm 
not in the mood, Jim. It's lovelier just 
to watch her." 

He took me home early in the morn- 
ing. 

Lita Grey arrived at the Montmartre 
on time. She found the two men at 
the table. We had come — and gone. 

He is the greatest inarticulate ironist 
on earth. The petty platitudes of lesser 
men do not conceal from his keen eyes 
the great truth that life is a bitter 
business and that mankind does a goose 
step to the grave. He has the first-rate 
man's sense of futility. 

MY ingratitude to Chaplin has long 
been a byword in Hollywood. It 
has been said that I arrived here a 
tramp and was befriended by film 
people, subsequently biting the hands 
that fed me. This is not true. The 
two men who made the early days 
easier for me in Hollywood were Paul 
Bern and Rupert Hughes. Both are 
still close to me. My second book was 
dedicated to Rupert Hughes, my last to 
Paul Bern. 

Until this moment I have never 
troubled to answer any man's charges. 
My old grandfather used to say, "Kape 
your head up, Jimmy. Ye've the blood 
of a wind-rovin' Dane." And so through 
all the melee of words I have always 
smiled, and thrown another brick. If it 
missed, I threw another one. 

"Payple respect ye more whin they're 
a little afraid," my grandfather used to 
{Continued on page 126) 




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If your dealer cannot supply you, send 
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125 



The New Movie Magazine 



WHEN YOUR 
HANDS ARE 
IMPORTANT 



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WHEN doctors, life 
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Captain Damico, 
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No need now to suffer the agony of sun- 
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126 





Ramon Novarro and his recent house guest, Grandma Baber of Oak Park, III. This 
visit followed years of fan correspondence, during which Grandma Baber adopted 
Novarro as a grandson. Novarro repaid her interest by showing her Hollywood 

as his guest. 



The Unknown Charlie Chaplin 

{Continued from page 125) 



say. He was a ditch-digging man of 
the world, doomed to canker out his 
life in the saloons of a miserable Ohio 
town. There was always in his big 
and turbulent and troubled old head a 
slight feeling of contempt for every- 
thing and everybody. He early incul- 
cated in me that feeling, and begged 
me to try like the devil to compel life 
to make way for me. I obeyed the mag- 
nificent, mud-bespattered old brigand, 
and I put him in a book just as he was 
and sent him to the far corners of the 
world. If I whimpered in explaining 
myself now, he'd kick a board out of 
his coffin. 

CHARLES CHAPLIN and I quar- 
reled over a matter which the in- 
tervening years have taught me was 
my fault. I was entirely to blame. But 
growth is not given to Irish mortals in 
a day. 

Long after we had separated, I was 
invited to the home of Frank Dazey, 
with whom I was writing a play. 

When I arrived, Mrs. Dazey said to 
me, "Jim, I know you'll be a good fel- 
low, as Charlie Chaplin is coming. 
Marion Davies telephoned and asked if 
she could bring him. I knew you would 
understand." 

Always self-conscious in company, I 
wondered how I would act. The news- 
papers at the time were full of news 
concerning our quarrel. 

Chaplin arrived soon afterward. He 
was charming as sin. Never in all* his 
life had he been more considerate with 
me. In the presence of all the guests, 
he put his arm about me. A sublime 
actor, one can never be sure when he is 
in or out of a role. Cynical of most 
things, I still believe that he was sin- 
cere that night. If not, he was charm- 
ing, which is just as well. 



Later in the evening a charade was 
played. Charlie picked me for his side. 
In choosing a word, he said, "Let's pick 
one of four syllables." And then with 
pantomime and a look of deep concern, 
he said, "Lord, I don't know any." 

The game over, many of the guests 
chatted in the living room. Wondering 
if he had changed I began to talk upon 
a pathological subject. Soon he drew 
his chair near mine and we talked for 
a long time. As of old his powerful 
mind wondered at subjects probably 
never to be understood. 

SINCE meeting him at the Dazey 
home I have seen him but once. 

At the time of his greatest trouble, 
I met him walking in the gathering 
dusk down Sunset Boulevard. 

His cap was pulled low over his eyes. 
His shoulders were drooped. His hands 
were shoved deep in his pockets. His 
chin was buried c:i his chest. 

There was no one within a block of 
us. My first impulse was to say, "Hello, 
Charlie," and put my arm about him. 

I was positive that he would have 
welcomed me. And yet I hesitated, for 
some unaccountable reason. 

Soon his lonely figure melted into the 
night. Somehow at the time he re- 
minded me of Victor Hugo's line on Na- 
poleon after the battle of Waterloo. 
That Man of Destiny was found wan- 
dering aimlessly in a field, in Hugo's 
words, "the mighty somnambulist of a 
vanished dream." 

(Next month Jim Tully toill de- 
scribe and analyze the great comedian, 
Charlie Chaplin, in further detail. 
You doubtless read his brilliant de- 
scription of the famous jester with 
great interest — and you will want to 
follow Mr. Tully's summation in next 
month's New Movie.) 



The New Movie Magazine 



First Aids to Beauty 

(Continued from page 102) 



creams which you may use both before 
and after the sunbath. If you get a 
real burn — and the skin on your arms, 
shoulders and face is apt to be affected 
first — I find that witch hazel is of great 
help in avoiding blisters and also in 
reducing the fever. 

The best procedure is to apply the 
lotion and cream before you don your 
sunback suit. Then, after the sunbath, 
and before you dress, use some sort of 
cream or lotion again — first applying 
witch hazel if you like — and then 
sprinkle yourself with talcum powder. 
Your skin will feel fresh and cool and 
you will avoid any possibility of a bad 
burn, unless you have been too indis- 
creet about staying in the sun. 

Many girls find it difficult to use 
make-up over a suntan. But the movie 
actresses aren't afraid of the suntan 
because, in the first place, they are 
careful to get an even tan and because 
the movie make-up can be applied 
evenly and effectively on any skin, pro- 
vided that the fundamental texture is 
good. 

However, in summer, it is good prac- 
tise to use a different shade of make-up 
than your winter shades. If your skin 
is darker, you must select a deeper 
rouge and lipstick. The more artifi- 
cial shades of rouge, which are all 
right for evening wear in winter, do 
not go with a summer complexion. 
Your powder, too, must be a more natu- 
ral tone and the exotic shades of pow- 
der, which are effective under electric 
light, are naturally all wrong under the 
summer afternoon sun. 

I HAVE not spoken of the health 
aspects of the sunbath. They have 
been too widely exploited to need any 
word from me. But I should remind 
you again, perhaps, that during your 
summer vacation you may store up a 
precious element known as Vitamin D; 
you may protect yourself, in the warm 
days, against winter colds and minor 
ailments. There are some persons, 
doctors tell me, to whom sunbaths are 



dangerous. There are some malignant 
diseases which are not helped by the 
sun's rays. If you have anything seri- 
ously wrong with your health, do not 
take sunbaths without the doctor's con- 
sent. It is always well, just to be on 
the safe side, to consult a doctor before 
you go on a vacation. 

But persons who are inclined to colds 
or who have weak lungs may achieve 
immense benefit from the sun's rays. If 
you are underweight or run down or 
nervous, you cannot find a better — nor 
cheaper — treatment. 

Elsa K., Savannah, Ga. There is 
no correct length for the hair. The 
extreme boyish clip, however, is no 
longer popular nor fashionable. On 
the other hand, very long and heavy 
hair is an annoyance because it is hard 
to arrange to fit under the close hats. 
The best bob is neither too long nor too 
short, but should fall softly about your 
head. As for long hair, most girls are 
content with arranging it in a knot 
placed low on the back of the neck. 

Mrs. I. J. T., East Orange, N. J. 
With your hair and eyes you ought to 
wear greens — blue greens — rose, brown 
and warm tans. You should avoid 
harsh blues, black and gray. 

Mary of Manhattan. White is al- 
ways pretty for a summer evening 
dress and is especially becoming to 
young girls. Moreover, you are not apt 
to tire of it, and it is less conspicuous 
than extreme colors. You are rather 
young to wear spangles, but you may 
have a touch of glittering trimming 
about the neckline or a few beads 
sprinkled on the skirt. 

H. I. N., San Francisco, Calif. Vase- 
line is the best thing to grow eyebrows. 
Apply a little every night and brush 
your brows with a small brush. If you 
are worried about your light brows, 
you might use an eyebrow pencil — a 
light brown one — to line your brows. 



THE NEW MOVIE Next Month Offers: 

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THE HIGH HAT GIRL OF HOLLYWOOD, depicting one of 
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HOW HOLLYWOOD ENTERTAINS, more facts about the 
movie parties, details which will help you entertain. 

THE NEWEST IN FASHIONS, posed especially for NEW 
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AND DOZENS OF OTHER FEATURES, TOPPED BY 
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Speaking of Qirls — 




Flo Ziegfeld 
whose "glorification of the American girl" 
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"I find that sparkling hail — hair that catches 
the lights of the theatre — is an invaluable 
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productions, I always keep this in mind." 

The glory of lustrous hair may be youra 
through the use of Hennafoam, the 
shampoo that contains a pinch of henna. 
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127 



The New Movie Magazine 



FRECKLES 




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After a few nights' tise of this dainty 
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The Penalty of Beauty 



(Continued from page 51) 



called for any acting. They did not 
want Fay Lanphier in that picture. 
They wanted 'Miss America.' It was the 
first time I ran into that. 

"I wonder if you know what it means 
to be wanted not for yourself? How it 
feels to know that people are inter- 
ested in you not because you are you, 
but because you are something - ? Per- 
haps, if that something is a real ac- 
complishment on your part, you can 
take pride in it and so feel all right. 
But I couldn't. 

I WAS 'Miss America' only by ac- 
cident, by a condition not of my 
doing. / did not build myself. I just 
happened to be like I am. Or was." 
She corrected herself and smiled across 
the luncheon table. And there was no 
apology for her extra weight in that 
smile and those quizzical, lifted eye- 
brows. I asked her how she happened 
to get into her first beauty contest, 
an affair in Oakland, California, spon- 
sored by Paul Ash, who was then play- 
ing in a local motion picture theater. 

"It was just a shot in the dark," 
she replied. "I had no hope of winning. 
I merely wanted to do something, any- 
thing, to better myself. I was in a rut 
and knew it. 

"I got second in that contest; which 
was far better than I thought I would 
get but not good enough to be sent to 
Santa Cruz for the state-wide contest. 
So I entered another one in San Fran- 
cisco which started the day after the 
Oakland one closed. And they sent me 
to Santa Cruz. 

"Then the trouble began. 

"I looked over that group of girls — 
the pick of the entire state of Cali- 
fornia — and the old inferiority complex 
came to the top. I knew darn well I 
had no business being there among 
those beauties. I did not rate it. I was 
just Fay Lanphier. 

"When the time came for me to walk 
out upon the stage and be judged I 
could not do it. I got stuck in the 
wings. My legs just would not func- 
tion; would not carry me. I was scared 
stiff and showed it. I know I had goose- 
flesh all over me. 

"'TpHE man who had put on the San 

A Francisco contest was standing in 
the wings with me. He was talking to 
me, but I could hardly hear what he 
was saying. Finally he gave me a push 
which sent me out onto the stage and 
yelled into my ear as he did, 'Smile all 
the time, Fay. And KEEP MOVING! 
Don't stand still out there. SMILE, do 
you hear?' 

"There seemed to be a million people 
in that audience, and all I could think 
of was to smile and keep moving. I 
did. I smiled and smiled, and moved 
around and around. And for some un- 
known reason the audience suddenly 
burst into a roar of applause. 

"I won that contest and they sent 
me to Atlantic City. 

"But before I went I had the best 
time I have ever had from any of the 
contests or any of the glory gained 



from them. I realize that now. I went 
on a clothes orgy. Buying a complete 
outfit — lovely evening dresses, filmy 
afternoon frocks, traveling suits, 
everything. It was the first time in my 
life I -had been near such clothes and 
believe me it was fun. And I did not 
have to. pay for a single stitch of them. 
The contest people paid for them all. 

"I did not win at Atlantic City that 
year, but I stayed in the contest long 
enough so that they recognized me 
when I came back the following year, 
1925. And I think that helped me win 
it. Anyway, I did. 

"Then trouble came in earnest. 

"Long months of going here and 
there. Stage appearances. That terri- 
ble flop in pictures. Style shows. 
Dances. Rush, worry and fear. 

"Rush, because if you were late or 
did not put in an appearance when 
asked — no matter how many places — 
people would be mad and say you were 
high-hat. Worry because no matter 
where I went I was continually on 
parade. Fear because I was afraid 
people would be disappointed in me. I 
was 'Miss America.' Judged to be the 
most beautiful girl in the United 
States, which I never felt I was. And 
I was always afraid people would agree 
with me too much. 

I DON'T think — unless you have 
actually had it happen to you — that 
you can possibly know what it means 
to be continually on exhibition. Never 
to be able to go into a restaurant with- 
out having everyone stare at you as 
you eat; never to be able to go to a 
dance without having every woman in 
the place size you up and every man 
look you over with a critical eye; never 
to be able to go to one place from an- 
other without a fanfare of publicity." 

Fay Lanphier's eyes seemed to be fo- 
cused upon something at a great dis- 
tance as she spoke. She remained silent 
for a moment. Then she gave a little 
laugh. 

"I thought those things would be 
perfect — once," she said. "But not 
after I had them. I don't think any 
normal girl would." 

So she gave them up. Willingly. 
Gladly. Despite the fact that with 
the physical heritage that is hers she 
could have remained "Miss America" 
or very close to that august person 
for many years, basking in the spot- 
light of masculine admiration and 
feminine envy which is always given 
the girl who is handed the wreath as 
America's "most beautiful." 

"In one way," Fay Lanphier said, 
"it was as great a struggle to give up 
being a beauty as it was a relief. It is 
not easy to do something you know will 
cause you to be talked about — and not 
in any complimentary way. Because I 
was 'Miss America' people expect me to 
be beautiful. When I am not they 
talk — I've heard them. 

" 'Why look at the size of her, my 
dear! She weighs a ton!' I overheard 
that sweet remark in a dressing room 
the other day. Well, I am heavy and 



Why waste an evening in the movie theaters? Follow the 
reviews in NEW MOVIE and save your time and money. 



128 



The New Movie Magazine 



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Watch for 

the new issue 

of the NEW 

MOVIE 

every month 




ON THE COUNTERS 

BEGINNING ON THE 15th 



THE FANS are fairly eating up 
The New Movie Magazine. 
"It's newer and newsier," they 
say. 

Our representatives on the scenes 
in the movie capitols flash the 
latest news for each new issue. 
Our own photographers, too, send 
us special poses of the stars and 
exclusive views of their homes. 

The most famous writers on screen 
activities and personalities con- 
tribute to The New Movie by ex- 
clusive arrangement. 



It goes on sale in Wool- 
worth stores on the isth . . . 
and usually sells out shortly 
thereafter. 



THE 



NEW MOVIE 
MAGAZINE 



I don't care who knows it. Because 
with that weight I have put on — nearly 
thirty pounds — has come great relief. 
I am no longer 'Miss America.' No 
longer competing for beauty prizes. 
No longer worrying about whether I 
am looking just right. I'm no longer 
in the race. 

"I'm just Fay Lanphier again — and 
happy." 

She told me that she was really too 
heavy. But that for a while she en- 
joyed being that way. "For the same 
reason, I suppose," she said, "that a 
person dying of thirst would overdrink 
when he first got at a tank full of 
water." She weighs 157 now. She 
tipped the scales at 128 when she was 
"Miss America." She is a tall girl, and 
even the additional weight cannot hide 
the fact that she is proportioned along 
the lines so admired by the ancient 
Greek sculptors. She said ten or twelve 
of those pounds were coming off. Not 
because she cares how she looks, but 
merely because she thinks them too 
much to carry during the heat of the 
summer. 

"I'm through working my head off 
for the sake of my appearance. You'll 
never catch me getting the same ail- 
ments some of the girls who win beauty 
contests work themselves into. Fif- 
teen pounds overweight is more healthy 
than ten pounds underweight. So that 
is that. If they want me for the stage 
as I am, all right. If not, that is all 
right, too. Work is all I want now. 
Being 'Miss America' has been a won- 
derful experience. It has given me a 
background I could not have gained 
otherwise. Now that it is behind me 
I am glad I did it. But I do not want 
to do it again." 

I LOOKED at this girl and wondered. 
Here she was in a studio lunch- 
room. She was one of a hundred ste- 
nographers on the lot. Fay Lanphier, 
who had been judged the most beautiful 
girl in America. She was attractive — 
very — yet. But a great part of that at- 
tractiveness was her perfect ease of 
manner, her restfulness, her joy of liv- 
ing. She ate what she wanted and how 
she wanted. She had not a care or re- 
gard about whether or not strangers 
were looking at her. She was herself, 
completely relaxed. 

And then I looked around that lunch- 
room. Here and there was a star. 
Among their own kind, in a studio 
noon hour, they could relax if ever. 
Some of them looked as if they were. 
But not one of them had the carefree 
ease of manner possessed by Fay Lan- 
phier. Each and every one of them 
was conscious, perhaps but subcon- 
scious, that someone they did not know 
was looking at them, judging them; and 
no one being judged on sight by a 
stranger can be relaxed or completely 
natural. 

Thinking over what I had just been 
told by Fay Lanphier about the worry 
and fear which go hand in hand with 
such a situation, I wondered if the large 
salaries given some of the motion pic- 
ture stars made up for that being con- 
tinually on parade, that curse of never 
being able to relax in public. 

I — well, no matter what I thought 
about it. We can have one definite 
answer. Fay Lanphier, having had the 
glory, the additional dollars which go 
with the spotlight of fame, has decided 
that the prize is not worth the game. 
She desires not to be "Miss America"; 
she wants to be plain Fay Lanphier. 
Who can say she is wrong? 



They Used to Call 
Me 
"FAT 
EMMA" 




The Personal 

Story of 

Emma Courtney 



"I will never forget the un- 
happy days when as a 'fat girl' 
I was the butt of all my friends' 
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weakened my ankles so I 
had no energy left at the 
end of the day.' 
Although young and pretty, I found out that young 
men did not care for 'fatties.' 

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nostrums and violent exercising machines. I was des- 
perate and didn't know what to do. 

"Then a kind friend told me of Miss Annette Keller- 
mann and her wonderful reducing methods. Interested 
at once I wrote her and soon received her fascinating 
book, 'The Body Beautiful,' and a lovely personal letter 
explaining her course in detail and how I could easily 
reduce six to eight pounds a month — safely. I followed 
her instructions. In a few months I regained my youth- 
ful figure and have kept it ever since. Life is once more 
worth living." 



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129 




The New Movie Magazine 



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Lillian and Anne Roth came together professionally for the first time 

in several years during the making of Cecil De Mille's "Madame Satan." 

For years the popular Roth Sisters played successfully in vaudeville. 

Then Lillian scored in pictures and the two trod separate paths. 



Up From Poverty Row 

(Continued from page 67) 



TF anything, she was more beautiful 
■*- off the dance floor than she was on 
it. It was hard for us to believe that 
possible, but it was true. And we found 
further that Dorothy Valergo was a 
darned fine kid. As fine a kid as Doro- 
thy Revier was to look at. 

She was a native daughter, born in 
San Francisco and educated there and 
in Oakland, across the Bay. She had 
just finished high school and turned to 
dancing as naturally as a duckling 
turns to water. Her father had been 
a musician, her aunt, Ida Valergo, an 
opera singer. Dorothy Valergo, half 
English, half Italian, had heard music 
in her house from the day she was old 
enough to listen. And from the time 
she could first toddle she had danced 
to that music. Little, childish things 
at first. Meaningless except that they 
showed a desire for the, expression 
which flowed naturally into a dance. 
Later came actual training. Russian 
and Italian ballet, aesthetic, eccentric. 

The Dorothy Valergo we knew then 
had no thought of Hollywood. In fact 



she had little thought of the future at 
all. She — had she thought about it at 
all — might have pictured herself a fa- 
mous dancer. But the mere joy of liv- 
ing concerned her most. I rather think 
we were all that way at that age. But 
sooner or later we pick ourselves a 
course, or have it picked for us, and 
things begin to happen. They did to 
Dorothy Revier. 

A MAN named Harry Cohn saw her 
dancing, talked to her, and signed 
her name to a contract. Dorothy Re- 
vier was to go to Hollywood and be- 
come a motion picture star. Cohn had 
said so and there was the contract. 
For a time after that Harry Cohn ap- 
peared to have been an Evil One. For 
he took Dorothy Revier from her danc- 
ing, took her from home and the beauti- 
ful surroundings of Tait's. 

And brought her to Poverty Row. 

Hollywood has a glamor, justly 
earned. It spends money like a drunken 
sailor, it revels in exhibitions of gor- 
geousness never rivaled by the kings 



Who is the 

High Hat Girl 

of Hollywood? 

Adela Rogers St. Johns will tell you al 

about her in an early issue 

of NEW MOVIE MAGAZINE. 



130 



The New Movie Magazine 



of France at Versailles and Fontaine- 
bleau. Hollywood has automobiles 
twenty-two feet long, Hollywood has 
butlers and chauffeurs and maids. This 
was the way Dorothy pictured it all. 
She thought and dreamed that she was 
to become a part of it. 

Any girl, starting out for the Holly- 
wood she had imagined and finding her- 
self on Poverty Row, can be excused 
for appearing stunned. Dorothy Re- 
vier was, those first few months. 

The saving of pennies where she had 
thought — any girl would — she was com- 
ing to the grandeur of Hollywood — it 
was a shock. But she did not quit, nor 
did she tear up her contract and return 
to her dancing. Having started, she 
stuck. 

During the days that followed, Doro- 
thy Revier was Poverty Row's one con- 
stant figure before the camera. Other 
newcomers broke in, became disgusted 
and departed; former stars, great 
names rapidly sliding to obscurity, 
came to the Row for work which would 
enable them to eat. They, too, quickly 
passed; Dorothy Revier - — remember 
where we saw her first in all her love- 
liness — spent two unrecognized years in 
this atmosphere of cheapness and 
squalor. 

AT the end of that time she was the 
undisputed Queen of Poverty Row. 

But she was a queen without a 
name. Hollywood did not know her, al- 
though Hollywood knows many people. 
The public did not know her, although 
every time they saw her picture they 
remembered her as the pretty girl they 
had seen somewhere, sometime, before. 
Hollywood did not know her because 
Hollywood considered it not the thing 
to do — to know anyone on Poverty 
Row. The public did not know her 
because publicity, that intangible, val- 
uable commodity which makes so many 
names great, was a thing unknown on 
the Row. The Row had barely enough 
money to make pictures, much less ex- 
ploit actors and actresses. 

Dorothy Revier lived quietly alone, 
as, being that sort of a person, she pre- 
ferred. If she has a hobby, which she 
denies, it is music. A thing easily 
understood when you remember that 
Dorothy Revier is a Valergo. At times 
she would have a few people in for an 
evening of singing. For the most 
part, however, all she did was work. 
All any one on Poverty Row did was 
work. Work made up for the handicap 
of lack of money. 

One night a big-time producer, seeing 
one of his pictures previewed in a small 
neighborhood theater, caught a glimpse 
of Dorothy Revier on the silver screen 
during the picture which preceded his. 
He asked who she was; told his secre- 
tary to get her to come to his studio. 
Dorothy Revier came. The next day 
Harry Cohn, very wisely as is his 
wont, had given his permission for her 
to play in one of the big producer's 
pictures. 

It was the start up. Dorothy Revier, 
brought to the attention of the larger 
studios, worked twenty-one weeks out 
of the nine months off Poverty Row — 
at a thousand dollars a week. Big 
money for a player under contract to 
a Poverty Row producer. 

THEN the talkies descended upon 
Hollywood and turned the industry 
upside down over night. 

When the uproar had quieted a bit, 
Dorothy Revier found that she had 
come to the end of her reign as Queen 
of Poverty Row. She had graduated. 



Harry Cohn pictures were no longer 
made on Poverty Row. Columbia Pic- 
tures (Harry Cohn's company) had a 
schedule as long and as impressive as 
any studio's. Players were borrowed 
from First National, Paramount, and 
M-G-M. just as those studios borrowed 
from each other. Money is needed for 
that. Columbia Pictures now had 
money and having it they were no 
longer on Poverty Row. 

Harry Cohn was as happy as a 
baby with a new rattle when the talkies 
appeared. He knew that all of Holly- 
wood had suddenly been put upon one 
level. No one knew anything about 
talking pictures. 

"Work," he said, "work is the thing 
now. And Columbia Pictures will get 
a break there because I can and will 
work harder than any of the big or 
little." 

Columbia's list of stars and produc- 
tions today proves the wisdom of that 
statement of Cohn's. Columbia is far 
from Poverty Row today. Its rise, 
made possible by Harry Cohn, is one of 
the romances of modern Hollywood. 

And, coupled with it is Dorothy Revier. 

THOSE long years of work, work, 
work. Those hard months on Poverty 
Row are telling now. Dorothy Revier 
knows what it means to work, and does. 
Temperament is foreign to her. Which 
double reason is partially responsible 
for the fact that producers are break- 
ing their necks today trying to get 
Dorothy Revier into their pictures. 

Dorothy Revier is not a star. She 
says she does not particularly want to 
be. "It's more fun to just work," she 
told me. 

It is strictly in character for Dorothy 
Revier to have been married for a full 
year before anyone knew it. To Charlie 
Johnson, a Los Angeles business man. 

And — looking at her beauty — it is 
also in character for her to be follow- 
ing in the footsteps of the immortal 
Barbara La Marr. 

Barbara had little fame in Holly- 
wood until Doug Fairbanks, after scour- 
ing the town, cast her as Milady in 
"The Three Musketeers." Then she 
started the rise which, after a time of 
schooling, flashed her across the screen 
as the most beautiful woman in Holly- 
wood. 

DOROTHY REVIER, although she 
had been in Hollywood two years, 
was very, very little known until that 
same Doug Fairbanks started to make 
the sequel to "The Three Musketeers," 
"The Iron Mask." And then he started 
another search, because Barbara was 
dead and he needed a Milady. 

Stars submitted to tests they would 
have scorned for any other man than 
Fairbanks, extras hung about his studio 
hoping, hoping, that he would see them 
as he had the great Barbara. Produc- 
tion was held up. Doug would not start 
until he had the one person he was 
seeking. 

He finally found Dorothy Revier. 

I know I could have sa.ved Doug a 
lot of trouble had he asked me who to 
get to play the part. Because I would 
have thought at once of the beautiful 
vision who floated out onto the floor at 
Tait's, who came to Hollywood and 
buried herself in the drabness of Pov- 
erty Row for those hope-killing years, 
who survived those years and has 
emerged one of the most popular act- 
resses in Hollywood. 

And I'm telling you now. Keep an 
eye on the kid. She has only just 
started. 



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131 




Bridal trousseaux as they are revealed in "Our Blushing Brides," Joan Crawford's newest starring vehicle. Joan 
may be glimpsed in the center of the group. Also present are Gwen Lee, Mary Doran and Catherine Moylan. 

We Have With Us Tonight 



J EW AYRES: Friends, I will now 
■*-* introduce the youngest and shyest 
guest of the evening— LEW AYRES 
himself. 

Lew Ayres appeared in public for 
the first time at 2927 West 44th Street, 
Minneapolis, Minnesota, and the date, 
if you wish to make a note of it, was 
December 28, 1908. 

Lewis Ayres was his name, his 
father also being Lewis Ayres, but 
when he started to school he changed it 
to "Lew" Ayres because the other boys 
at school called him "Loose Airs," and 
so that's how it all came about. 

When he was ten years old he picked 
up and moved to San Diego, California, 
and was soon in high school. Up to 
this time he had been regarded as nor- 
mal in every way, and then it was 
noticed he was acting queerly. A few 
days later it was discovered what was 
the matter — he wanted to become a 
banjo player. 

His mother was a proud woman, and 
bore up bravely and heroically, al- 
though goodness knows a canker must 
have been eating at her heart. 

After graduating from the San 
Diego High School, he went to the Uni- 
versity of Arizona and played the 
banjo, in spite of all that could be done, 
and while the tears rolled down his 
mother's face. 

The itch to get into pictures began 
to gnaw at Lew, and packing up his 
banjo he came to Hollywood and got 
a job playing in the orchestra at a cafe 
where the movie people go. 

He was seen, was given his chance, 
and now managers knock each other 
down in the street to get his signature. 

Girls, I have good news for you. He 
is not married, and lives alone in an 
apartment in Hollywood. He is easy to 
cook for, and does not throw cigarette 
ashes on the floor. Send telegrams 
prepaid. 

132 



{Continued from page 57) 

-fcTORMA SHEARER: My friends 
-iY and fellow banqueters, you no 
doubt have given a great deal of 
thought to the question of what be- 
comes of all the pretty girls who have 
danced with the Prince of Wales. Well, 
the answer is before us tonight as we 
gather around this table. 

They grow up and become great 
movie stars. Or, at least, one of them 
did. 

I refer, of course, to Norma Shearer, 
who once made the Prince of Wales 
think Canada was the finest country in 
the world. 

Norma Shearer made her bow to the 
public at 507 Grosvenor Avenue, 
Montreal, Canada, on August 10, 1904. 

And this is her real name, for Norma 
is not one of those persons who thinks 
she has to go to a solemn looking lady 
in a turban and have her name 
changed in order to succeed. 

Norma remained quietly at home, 
living on a liquid diet, and going out 
but little and then usually on a pillow. 
But at last she grew up, as girls in 
Canada will. 

It was when she was a student in the 
Westmount High School that she 
danced with the Prince of Wales. 

After a time, Norma crossed the 
Wine and Liquor Line and came down 
to New York. Slim pickings at first, 
with most of her housekeeping done out 
of a paper bag, but at last somebody 
with sense saw her and put a blank 
contract in front of her and turned his 
back. 

Her theme song then was, "Goodbye, 
Broadway — Hollywood, Here I Come." 

Now comes the bad news, boys. She 
belongs to another man, the sad day 
having been September 29, 1927. The 
lucky dog is Irving G. Thalberg, a big 
shot at the M-G-M studios. It would 
be just like him to live to be a hundred. 
Otherwise, hooray for Norma. 



So when you think of Norma, think 
of a Canadian girl who danced with the 
Prince of Wales, and who now walks 
at the top of her profession. 

JDAMON NOVARRO: Girls, this 
■tv ought to be a wonderful evening 
for you, as we have with us tonight 
two bachelors — all rich, all handsome 
and all willin'. The other is RAMON 
NOVARRO. 

Look on him as he sits there so ner- 
vously playing with his knife and you 
will see an unusual person — a Mexi- 
can movie star who has never pre- 
tended he was Spanish. Hollywood is 
full of noble and aristocratic Spaniards 
— from Tia Juana and points south. 
Another queer thing about him is that 
his father didn't have a ranch of a 
million acres. So rest your eyes on 
him — he's one in a million. 

His first appearance as Ramon Gil 
Sameniegos, on the stage of life was 
at Durango, Mexico, and the date of 
his premiere was February 6, 1900. 

The 3999th revolution came along in 
Mexico, and the Sameniegoses, or how- 
ever it is, had to clear out. Ramon 
went to El Paso and then drifted into 
Hollywood. Hollywood did not wel- 
come him with open arms. While in 
Mexico Ramon had developed the habit 
of eating and this clung to him after 
he arrived in Hollywood. Finally he 
got a job in a restaurant, singing 
"Poor Butterfly." He could have put 
more feeling into "Poor Tummy." 

And now he has a French valet! 

Also in his house, where he lives with 
his mother and other members of his 
family, he has a private theater with 
ushers. But he doesn't live in Holly- 
wood, where most of the movie stars 
live, but in Los Angeles like the rest 
of Southern California, and the exact 
address, girls, is 2263 West 22nd St. 

Good luck, girls! 

EDWAED LANGEB PRINTING CO., INC., JAMAICA, X. Y. 



A LITTL 



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'COMING EVENTS CAST 
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{Qhomas Campbell, 1777- 1844) 



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LEILA 
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LOOKING 
INTO THE 

STARS' 

SALARY 
ENVELOPES 



HOME TOWN STORY of RUDY VALLEE 



ftOAj* 




LION 



Rq 



ANNOUNCES THE GREATEST 




Chaney 



HP* 



Joan 
Crawford 



John 
Gilbert 



Metro-Goldwyn-Mayer will again demonstrate that it is the greatest 
producing organization in the industry. The company that has "more 
stars than there are in heaven" — the greatest directors — the most 
famous composers — the most marvelous creative and technical resources 
— pledges itself to continue producing pictures as wonderful as THE 
BIG PARADE, BEN HUR, THE BROADWAY MELODY, MADAME X, 
HOLLYWOOD REVUE, OUR DANCING DAUGHTERS, THE 
ROGUE SONG, ANNA CHRISTIE, THE DIVORCEE— to mention 
only a few of the great M-G-M pictures that have taken their 
place in Filmdom's Hall of Fame. No wonder Leo roars his approval as he 
looks forward to the greatest year Metro-Goldwyn-Mayer has ever had! 



Moore Ljk 



METRO-GOLD 

"More Stars Than 



The New Movie Magazine 




METRO-GOLDWYN-MAYER 



PRODUCTION SCHEDULE IN ITS HISTORY 









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FEATURED 
PLAYERS 

Wallace Beery 
Charles Bickford 
Edwina Booth 
John Mack Brown 
Lenore Bushman 
Harry Carey 
Karl Dane 
Mary Doran 
Cliff Edwards 
Julia Faye 
Gavin Gordon 
Lawrence Gray 
Raymond Hackeii 
Hedda Hopper 
Lottice Howell 
Leila Hyams 
Kay Johnson 
Dorothy Jordan 
Charles King 
Arnold Korff 
Harriett Lake 
Mary Lawlor 
Gwen Lee 
Barbara Leonard 
Andre Luguet 
George F. Marion 
Dorothy McNulty 
John Miljan 
Robert Montgomery 
Catherine Moylan 
Conrad Nagel 
Edward Nugent 
Elliott Nugent 
J. C. Nugent 
Catherine Dale Owen 
Anita Page 
Lucille Powers 
Basil Rathbone 
Duncan Renaldo 
Gilbert Roland 
Benny Rubin 
Dorothy Sebastian 
Gus Shy 
Lewis Stone 
Raquel Torres 
Ernest Torrence 
Roland Young 

DIRECTORS 

Lionel 
Barrymore 
Harry Beaumont 
Charles Brabin 
Clarence Brown 
Jack Conway 
Cecil B. DeMille 



A few of the big pictures to come 


Ramon NOVARRO 


"Madame Satan" 


The Singer of Seville 


(Directed by 




Cecil B. DeMille) 


Greta GARBO 




"Red Dust" 


"Billy the Kid" 




(Directed by King Victor) 


Marion DAVIES 




Rosalie 


"The March of 




Time" 


Joan CRAWFORD 


(With 'more stars than 


"Great Day" 


there are in heaven ') 


Lon CHANEY 


"Jenny Lind" 

with 


The Bugle Sounds" 


Grace Moore 


John GILBERT 


"The World's Illusion" 


Way for a Sailor" 






The Great Meadow" 


Lawrence TIBBETT 




The New Moon 


Naughty Marietta 


William HAINES 


Dance, Fool, Dance" 


"Remofe Control" 






"War Nurse" 


"Good News" 






"The Merry Widow" 


"Trader Horn" 


What Music' 


and many, many more 


outstanding productions. 



William DeMille 
Jacques Feyder 
Sidney Franklin 
Nick Grinde 
George Hill 
Sammy Lee 
Robert Z. Leonard 
Edgar J. McGregor 
Fred Niblo 
Harry Pollard 
Charles Riesner 
Arthur Robinson 
Wesley Ruggles 
Mai St. Clair 
Victor Seastrom 
Edward Sedgwick 
W. S. VanDyke 
King Vidor 
Sam Wood 



SONG WRITERS 

Martin Broones 
Dorothy Fields 
Arthur Freed 
Clifford Grey 
Howard Johnson 
Jimmy McHugh 
Joseph Meyers 
Reggie Montgomery 
Herbert Stothart 
Oscar Straus 
George Ward 
Horry Woods 

WRITERS 

Stuart Anthony 
Beatrice Banyard 
Alfred Block 



WYN-M 

There are in Heaven " 



Al Boasberg 
A- Paul Mairker 

Branden 
Neil Brandt 
Frank Butlei 
John Colton 
Mitiie Cummings 
Ruth Cummings 
Edith Ellis 
Joseph Farnham 
Edith Fitzgerald 
Martin Flavin 
Becky Gardiner 
Willis Goldbeck 
Robert Hopkins 
Cyril Hume 
William Hurlburt 
John B. Hymer 
Marion Jackson 
Laurence E. Jackson 
Earle C. Kenton 
Hans Kraly 
John Lawson 
Philip J. Leddy 
Charles MacArthur 
Williard Mack 
Frances Marion 
Gene Markey 
Sarah Y. Mason 
Edwin J. Mayer 
John Meehan 
Bess Meredyth 
James Montgomery 
Jack Neville 
Lucille Newmark 
Fred Niblo, Jr. 
J. C Nugent 
George O'Hara 
Samuel Ornitz 
Arthur Richman 
W. L. River 
Madeleine Ruthven 
Don Ryan 
Harry Sauber 
Richard E. Schayer 
Zelda Sears 
Samuel Shipman 
Lawrence Stallings 
Sylvia Thalberg 
Wanda Tuchock 
Jim Tully 
Dale Van Every 
Claudine West 
Crane Wilbur 
P. G. Wodehouse 
Miguel de Zarraba 



The New Movie Magazine 

One of the Tower Group of Magazines 
Hugh Weir — Editorial Director 

Vol. II Features No. 2 

Cover Painting of Leila Hyams by Penrhyn Stanlaws 
Back to Her First Hate Dick Hyland 27 

Elsie Ferguson starts all over again in Hollywood. 

Looking Into the Stars' Salary Envelopes. . Tamar Lane and Fred'k James Smith 28 

Why star salaries are dropping — and the exact earnings of your favorites. 

The Thunder Thief Adela Rogers St. Johns 32 

She's Marie Dressier, who'll steal a picture in the flash of an eye. 

Won by a Nose Rosalind Shaffer 34 

The retrousse is the actress nose and all big stars possess concave nasal profiles. 

Hollywood's Successor to IT Dorothy Herzog 38 

The hemline came down and sounded the death knell of the flapper. 

The Last Days of Valentino , Herbert Howe 40 

How the Italian peasant boy died a king with a broken heart. 

Home Town Stories of the Stars Perdita Houston 44 

The romance of Rudy 1'allee, of IVestbrook, Maine. 

The Unknown Charlie Chaplin Jim Tully 50 

More about the complex and many-sided genius of laughter. 

The Montana Kid Dick Hyland 66 

He's Gary Cooper and he's a young man of contradictions. 

The Drama of Lila Lee Evelyn Gray 86 

Act II in the absorbing life story of this popular actress. 

The Poor Little Rich Girl Antoinette Spitzer 89 

Hope Hampton believes that wealth is a detriment to success. 

We Have With Us Tonight Homer Croy 90 

New Movie gives another big Hollywood banquet. 

Fiction 

A Fool and His Honey Stewart Robertson 46 

The funniest motion picture short story of the year. 

Departments 

The Hollywood Boulevardier Herb Howe 56 

Mr. Howe tells you the real inside stories of moviedom. 

Reviews of the New Films Frederick James Smith 83 

Concise -and accurate comments upon the important photoplays. 

First Aids to Beauty Ann Boyd 98 

Advice and rules for charm and attractiveness. 

AND: Dollar Thoughts, 6; Where to Write the Movie Stars, 8; Gossip of 
the Studios, 13; How Hollywood Entertains, 74; Guide to the Best Films, 94. 

Frederick James Smith — 'Managing Editor 
Dick Hyland — Western Editorial Representative 



Published monthly by Tower Magazines, Incorporated. Office of publication at 184-10 Jamaica Ave., Jamaica, N. Y. Executive 
and editorial offices: 55 Fifth Avenue, New York, N. Y. Home office: 22 North Franklin Street, Wilkes-Barre, Pa. Hugh Weir, 
Editorial Director; Catherine McNelis, President; Theodore Alexander, Treasurer; Marie L. Featherstone, Secretary. Vol. 2, Number 2, 
August, 1930, printed in the U. S. A. Price in the United States $1.20 a year, 10c a copy. Price in Canada $1.80 a year, 15c a copy. 

Copyright, 1930 (trademark registered), by Tower Magazines, Incorporated, in the United States and Canada. Entered at the 
Post Office at Jamaica, N. Y., as second-class matter under the Act of March 3, 1879. Nothing that appears in THE NEW MOVIE 

MAGAZINE may be reprinted, either wholly or in part, without permission. The publisher accepts no responsibility for return of 
unsolicited manuscripts. 

Applicant for Membership in the Audit Bureau of Circulations 



The New Movie Magazine 




Buy a bathing suit with 

what you save f 



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Listerine Tooth Paste 

10c size on sale at all Woolworth stores 



DOLLAR 
THOUGHTS 

The New Movie Magazine Readers 

Express Their Opinions of Film Plays 

and Players — and This Monthly 



Illiteracy Myth 
Exploded 

San Francisco, Calif. 

The new movies, talk- 
ing pictures, have dis- 
abused the public mind 
on one of the most im- 
portant subjects of 
pre-talkie days . . . the 
illiteracy of "the 
stars". Gossip had it 
that many popular 
stars of silent films 
lacked the simplest 
rudiments of primary 
education. 

When talkies swept 
the world like a tidal 
wave, the public sought 
theaters with skeptical 
tolerance expecting the 
talking stars to make idiots of themselves . . . and, 
instead, it awakened to the fact that not only the stars 
but the lowest paid, most unimportant movie maids 
or heroes were capable of speaking better English than 
the average person in the street. 

The myth of Hollywood's illiteracy is exploded — peo- 
ple now believe that the stars sign their contracts with 
a signature instead of an "X". 

Gilson WilJets, 
890 Geary Street. 

For Entire Family 

Cincinnati, Ohio — 

I have nothing but the highest praise for New Movie. 
We used to have to watch what our sons and daughters 
read, especially the movie magazines, most of which 
were filled with trash. But now we have a respectable 
magazine in New Movie, and I am glad to see it around 
the house. I picked up a copy of last month's issue 
and thumbed through it to see what my children were 
reading. I became interested and read it through. I 
am highly in favor of it, and recommend it as whole- 
some reading for everyone. 

• J. W. McKeown, 
355 Baum Blvd. 

Well, Maybe 

New York, N. Y.— 

When one reads fifteen letters and ten of them are 
in praise of New Movie instead of about plays and play- 
ers as the heading infers — one becomes just a bit 
disgusted. 

Why not eliminate some of or all of the personal 
horn-blowing — for, if you don't, people will think 
they're entitled to a dollar for saying something 
flattering. 

Isn't this thought worth a dollar? 

/. Lindsey Miller, 
30 5th Ave., Apt. 9 A. 

Doesn't Like Vallee 

Palmyra, Miss. — 

Thumbs down for Rudy Vallee. His picture was 
handed to him on a silver platter and yet Marie Dressier 
got all the histrionic honors. 

He sings 0. K., his band is very good, but his acting 
is as if he were petrified. 

I only wish my Vagabond Dreams would come true 

and there wouldn't be any Vallee. 

^ ,, . _, . Steivart Johnson. 

Collecting Voices 

West New York, N. J. — 

With the coming of talkies I 
predict a strong come-back of the 
phonograph and Victrola record. 
We who collect photographs of our 
favorite stars will add to this 
hobby — collecting records of our 
screen idols' voices. 



THE NEW MOVIE MAGAZINE pays one 
dollar for every interesting and con- 
structive letter published. Address your 
communications to A-Dollar-for-Your- 
Thoughts,THE NEW MOVIE MAGAZINE, 
55 Fifth Avenue, New York City. 



Won't someone please 
tell Clive Brook, Wil- 
liam Powell, Gary 
Cooper, Mary Pickford, 
Ann Harding, etc., to 
sail, motor, or fly to the 
nearest phonograph re- 
cording station and 
speak, sing or whistle 
for us — their adoring 
public? 

Lillian E. Miller, 
1377 Boulevard East, 
Apt. 2 F— South. 

Cheers for Tibbett 

Fort Lauderdale, 

Florida — 
I've been reading 
your Dollar Thoughts 
and I find them very 
interesting. I want to add this bit about Lawrence 
Tibbett. He is not good-looking but he has a charming 
personality and his voice is excellent — so full of feeling. 
If people don't like him, why do they go to see him? 
Most people get sick of seeing the same type of jazzy 
pictures all the time, they want something different, 
and it is a real treat to have a change. So I say, three 
cheers for Larry! 

Ridge Rountree, 
201 Southeast Sixth Avenue. 

Another Movie Error 

Chicago, III. — 

Since when does the bride, on the arm of the man 
who is to "give her away," precede her bridesmaids 
as she walks up to the altar to meet her intended hus- 
band? The heroine does this in "The New Adventures 
of Dr. Fu Manchu." The producers are usually so 
careful in this respect but they slipped up in this 
instance. 

M. H. Bond, 
7406 Phillips Avenue. 

Vive, Chevalier 

New York, N. Y. — 

Pearl O'Moore writes to New Movie that she can't 
see anything nice in Maurice Chevalier. Personally, I 
think he is just about perfect, but I don't try to bring 
everyone to my point of view. I can't bear Rudy 
Vallee or Buddy Rogers, but I realize that some people 
like these actors and Miss O'Moore should realize that 
a good many people like Chevalier. 

Pearl A. Katzman, 
601 West 189th Street. 

Thrilled by Garbo Voice 

Los Angeles, Calif. — 

I have seen and heard Garbo in her first talking pic- 
ture. What a joy and revelation to hear this 
glamorous girl speak so well. I sat spellbound through 
two entire performances, charmed and thrilled with her 
deep, compelling voice and the exquisite artistry with 
which she portrayed "Anna Christie." 

Helene Graefner, 
1656 W. 47th St., Apt. 2. 

Loses His Illusions 

Binghamton, N. Y. — 

So you like Greta Garbo's voice as disclosed in "Anna 
Christie." Well, well! To me it 
sounded just like the delivery of 
the winter's coal. All my illu- 
sions were smashed by that hoarse 
voice. Why were the talkies in- 
vented, anyway? 

Jack Harris, 
Chenango Street. 
{Continued on page 104) 



The New Movie Magazine 



Vvhat makes a girl ALLURING? 

V^-LAJ\A JjO VV , the girl whose Heautj ana Personality have made her 
VV orla~ll amous, explains how any girl can he (captivating 



THERE'S one thing that stands out 
above all others in making a girl 
really alluring," says Clara Bow, the scin- 
tillating little Paramount star whose vivid 
beauty and personality have won her 
world-fame in motion pictures. "It 1 s lovely 
skin. You may have marvelously appealing 
eyes — and a lot of charm- — and a beautiful 
figure. But just notice the way people 
cluster around a girl who has lovely skin! 
"I got my first chance in the movies 
partly, at least, because of what my 
father calls my ' baby-smooth ' skin. You 
see, motion picture 
directors found out 
long ago that unless 
a girl has marvelous 
skin she can never 
make millions of 
hearts beat faster 
when she appears in 
a close-up. 

"Several years ago, 
some of us began 
using Lux Toilet 
Soap, and were en- 
It wasn't long before 




Nancy Carroll hay 
lovely skin. 

thusiastic about it. 



almost every important actress in Holly- 
wood was using it." 

9 out of 10 
Screen Stars use it 

"Take Nancy Carroll, for instance," Clara 
Bow continues. "She keeps her fair skin 
delectable as an apple blossom with Lux 
Toilet Soap. And Mary Brian. Jean 
Arthur, too, keeps her skin lovely with 
Lux Toilet Soap. 

"In fact, nearly every girl I know in 
Hollywood uses this soap. And aren't 
we glad we have kept our skin in good 
condition — the talkies have even more 
close-ups than silent pictures. 

" When I get letters from girls all over 
the country — saying 
nice things about my 
skin — I long to 
answer every one of 
them, and tell these 
girls that they can 
keep their skin just 



Jean Arthur always 
uses Lux Toilet Soap. 




Photo by O. Dyar, Hollywood ' 

Clara Bow says: "People cluster around the girl with lovely skin! . . . Lux Toilet Soap 



is such a help in keeping the skin in perfect condition. 



"' c/. 




as smooth as we screen stars do — by 
using Lux Toilet Soap." 

There are now 521 important actresses 
in Hollywood, including all stars. Of 
these, 511 use Lux Toilet Soap. More- 
over, all the great film studios have made 
it the official soap for 
their dressing rooms. 
So essential is it that 
every girl in motion 
pictures, from the 
world-famous star 
down to the newest 



0/1*0^ 



"extra," shall have the very loveliest skin ! 

Lux Toilet Soap, as you know, is made 
by just the same method as the finest 
toilet soaps of France. 

If you aren't one of the millions of girls 
and women who are already devoted to 
this daintily fragrant white soap, do try 
it — today. It will keep your skin as 
charmingly fresh and smooth as it keeps 
the beautiful screen stars'! 

Use Lux Toilet Soap for the bath, too 
— and for the shampoo. It lathers ever 
so generously, even in the hardest water! 



Mary Brian's skin 

shows flawless in a 

close-up. 



Lux Toilet Soap 



First Sweeping Hollywood — then Broadway 



— and 



the En 



Capitals 



104 



WHERE t0 WRITE the MOVIE STARS 

When you want to write the stars or players, address your com- 
munications to the studios as indicated. If you are writing for a 
photograph, be sure to enclose twenty-five cents in stamps or silver. 
If you send silver, wrap the coin carefully. 



At Metro-Goldwyn 
Calif. 

Renee Adoree 
George K. Arthur 
Nils Asther 
Lionel Barrymore 
Lionel Belmore 
Wallace Beery 
Charles Bickford 
John Mack Brown 
Lon Chaney 
Joan Crawford 
Karl Dane 
Marion Davies 
Duncan Sisters 
Marie Dressier 
Josephine Dunn 
Greta Garbo 
John Gilbert 
Gavin Gordon 
Raymond Hackett 
William Haines 
Leila Hyams 



■Mayer Studios, Culver City, 

Dorothy Janis 
Dorothy Jordan 
Kay Johnson 
Buster Keaton 
Charles King 
Gwen Lee 
Barbara Leonard 
Bessie Love 
Robert Montgomery 
Polly Moran 
Conrad Nagel 
Ramon Novarro 
Edward Nugent 
Catherine Dale Owen 
Anita Page 
Lucille Powers 
Aileen Pringle 
Dorothy Sebastian 
Norma Shearer 
Lewis Stone 
Ernest Torrence 
Raquel Torres 



At Paramount-Famous-Lasky Studios, 
Hollywood, Calif. 



Richard Arlen 
Jean Arthur 
William Austin 
George Bancroft 
Clara Bow 
Mary Brian 
Clive Brook 
Virginia Bruce 
Jack Buchanan 
Nancy Carroll 
Lane Chandler 
Ruth Chatterton 
Maurice Chevalier 
June Collyer 
Chester Conklin 
Jackie Coogan 
Claudette Colbert 
Gary Cooper 
Marlene Dietrich 
Kay Francis 
Harry Green 
Mitzi Green 
James Hall 



Neil Hamilton 
O. P. Heggie 
Doris Hill 
Phillips Holmes 
Jack Luden 
Paul Lukas 
Jeanette MacDonald 
Fredric March 
Rosita Moreno 
David Newell 
Barry Norton 
Jack Oakie 
Warner Oland 
Guy Oliver 
Zelma O'Neal 
Eugene Pallette 
Joan Peers 
William Powell 
Charles Rogers 
Lillian Roth 
Regis Toomey 
Florence Vidor 
Fay Wray 



Universal Studios, Universal City, Calif. 



Lewis Ayres 
John Boles 
Ethlyn Claire 
Kathryn Crawford 
Reginald Denny 
Jack Dougherty 
Lorayne DuVal 
Hoot Gibson 
Dorothy Gulliver 
Otis Harlan 
Raymond Keane 
Merna Kennedy 
Barbara Kent 

Samuel Goldwyn, 7210 Santa Monica Blvd., 
Hollywood, Calif. 

Vilma Banky Ronald Colman 

Walter Byron Lily Damita 

8 



Beth Laemmle 
Arthur Lake 
Laura La Plante 
George Lewis 
Jeanette Loff 
Ken Maynard 
Mary Nolan 
Mary Philbin 
Eddie Phillips 
Joseph Schildkraut 
Glenn Tryon 
Barbara Worth 



At Fox Studios, 1401 
Hollywood, Calif. 

Frank Alberston 
Luana Alcaniz 
Mary Astor 
Ben Bard 
Warner Baxter 
Marjorie Beebe 
Rex Bell 

Humphrey Bogart 
El Brendel 
Dorothy Burgess 
Sue Carol 
Sammy Cohen 
Marguerite Churchill 
Joyce Compton 
Fifi Dorsay 
Louise Dresser 
Charles Eaton 
Charles Farrell 
Earle Foxe 
John Garrick 

At Warner Brothers 
Hollywood, Calif. 

Armida 

John Barrymore 
Betty Bronson 
Joe Brown 
William Collier, Jr. 
Dolores Costello 
Claudia Dell 
Louise Fazenda 
Lila Lee 

Pathe Studios, Culver City, Calif. 
Robert Armstrong Ann Harding 

Constance Bennett Eddie Quillan 

William Boyd Fred Scott 

James Gleason Helen Twelvetree3. 

First National Studios, Burbank, Calif. 



No. Western Avenue, 

Janet Gaynor 
Ivan Linow 
Edmund Lowe 
Claire Luce 
Sharon Lynn 
Kenneth MacKenna 
Farrell MacDonald 
Mona Maris 
Victor McLaglen 
Lois Moran 
Charles Morton 
Paul Muni 
George O'Brien 
Maureen O'Sullivan 
Paul Page 
David Rollins 
Milton Sills 
Arthur Stone 
Nick Stuart 
John Wayne 
Marjorie White 

Studios, 5842 Sunset Blvd., 

Winnie Lightner 
Lotti Loder 
Myrna Loy 
Ben Lyon 
May McAvoy 
Edna Murphy 
Marian Nixon 
Lois Wilson 
Grant Withers 



Richard Barthelmess 
Bernice Claire 
Doris Dawson 
Billie Dove 

Douglas Fairbanks, Jr. 
Alexander Gray 
Corinne Griffith 
Lloyd Hughes 



Doris Kenyon 
Dorothy Mackaill 
Colleen Moore 
Jack Mulhall 
Vivienne Segal 
Thelma Todd 
Alice White 
Loretta Young 



United Artists Studios, 1041 No. Formosa 
Avenue, Hollywood, Calif. 

Don Alvarado Mary Pickford 

Fannie Brice Gloria Swanson 

Dolores del Rio Norma Talmadge 

Douglas Fairbanks Constance Talmadge 

Al Jolson Lupe Velez 

Columbia Studios, 1438 Gower Street, 
Hollywood, Calif. 



Evelyn Brent 
William Collier, Jr. 
Ralph Graves 
Jack Holt 



Margaret Livingston 
Jacqueline Logan 
Shirley Mason . 
Dorothy Revier 

RKO Studios, 780 Gower Street, Hollywood, 
Calif. 

Frankie Darro 
Richard Dix 
Bob Steele 
Tom Tyler 



Buzz Barton 
Sally Blane 
Olive Borden 
Betty Compson 
Bebe Daniels 



The New Movie Magazine 








m Jfbivyoucart 



fjOlWGTOTHEMOVffC 




The New Movie Magazine 



Tell youi7\+hedti*e M&n&dei* you want to see 



ARNERBROS 



FIRST NATIONAL 






,w 



ITAPHONE 



RIGHT now your theatre manager is selecting his attractions 
for the coming year. He's trying to choose the ones 
YOU'LL like best. 

You can help him decide by telling him YOUR choice! He'll be 
GLAD to know your preference so that he can more closely 
accommodate your tastes. 

To help you in your selection, WARNER BROS, and FIRST 
NATIONAL, exclusive Vitaphone producers, announce here in 
advance their amazing production programs for 1930-31. 

Look over these lists . . . Notice the wealth of famous stars . . . 
the brilliant stories by favorite authors . . . the wonderful enter- 
tainment values these titles promise. 

Compare them with any other group of pictures announced 
for the coming year . . .Then use the ballot on the second page 
following to indicate your choice. 



{Titles and casts an 
subject to change in a 
few instances.) 



10 



The New Movie Magazine 



WARNER BROS. PICTURES for 1930-1931 



JOHN BARRYMORE 
in "MOBY DICK" 

From the famous novel by Herman Melville. 
With Joan Bennett. 

• 

JOHN BARRYMORE 

In a second spectacular production. 

• 

"VIENNESE NIGHTS" 

All in Technicolor 

Their first original romance. 

By Sigmund Romberg and Oscar 

Hammerstein 2nd. 

• 

"CAPTAIN APPLEJACK" 

From the long-run stage hit. With John 
Halliday, Mary Brian and other stars. 

• 

"MAYBE IT'S LOVE" 
With the All -American Football Team 

And Joe E. Brown, Joan Bennett. 



GEORGE ARLISS 
in "OLD ENGLISH" 

From the celebrated play by John 
Galsworthy. With a star cast. 

• 

"FIFTY MILLION FRENCHMEN" 

The greatest musical comedy in years in 
New York, filmed entirely in Technicolor. 

• 

"THE OFFICE WIFE" 

By Faith Baldwin. 

• 

"THE LIFE OF THE PARTY" 

All in Technicolor 

With Winnie Lightner, Irene Delroy 
and others. 

"THE DANUBE LOVE SONG" 

All in Technicolor 

A lavish romance by famous Oscar Strauss. 



AL JOLSON in "BIG BOY" 

All Laughs? 

• 

"SIT TIGHT" 

With Winnie Lightner, Joe E. Brown, 
Irene Delroy. 

• 

"RED HOT SINNERS" 

With Winnie Lightner. 

• 

"NANCY FROM NAPLES" 

Irene Delroy, Charles King and 10 other 
stars in a comedy by celebrated Elmer Rice. 

• 

"CHILDREN OF DREAMS" 

Magnificent romance by Oscar 
Hammerstein 2nd and Sigmund Romberg. 

• 

AND MANY OTHERS 

• 

Also"VITAPHONE VARIETIES" 

The finest of all "Short Subjects." 





FIRST NATIONAL PICTURES 
for 1930-1931 



STARS M 

PICTURES 



1 




RICHARD BARTHELMESS 
in "THE DAWN PATROL" 

A vast production and a perfect 
Barthelmess story. 

• 

RICHARD BARTHELMESS 
in "ADIOS" 

The brilliant star in the kind of part that 
made him famous. 

"THE GIRL 
OF THE GOLDEN WEST" 

One of the greatest stage plays of all time, 

to be filmed with Ann Harding, James 

Rennie and 7 other stars. 

• 

OTIS SKINNER in "KISMET" 

With Loretta Young 

One of the stage's greatest stars in his 

most famous hit. 

"THE TOAST OF THE LEGION" 

All in Technicolor 

From the glorious Victor Herbert hit, 
"Mile. Modiste," with a tremendous cast. 

• 

"MOTHER'S CRY" 

From the famous best-selling novel. 

• 

"TOP SPEED" 

Joe E. Brown and Jack Whiting in a great 
Broadway success. 

"THE BAD MAN" 

Walter Huston and 5 other stars in a 
celebrated stage comedy. 



MARILYN MILLER 
in "SUNNY" 

By Otto Harbach and Oscar 
Hammerstein 2nd. Music by Jerome Kern. 

• 

"WOMAN HUNGRY" 

All in Technicolor 

With Lila Lee, Sidney Blackmer, Fred Kohler 
and 5 other stars. 

• 

"BRIGHT LIGHTS" 

All in Technicolor 

With Dorothy Mackaill, Frank Fay and 8 
more stars. 

• 

"RIGHT OF WAY" 

From the famous novel by Sir Gilbert 

Parker, with Conrad Nagel, Loretta Young 

and others. 

• 

"THE CALL OF THE EAST" 

First original screen production by the 

brilliant composer and author, Jerome Kern 

and Otto Harbach. 

• 

"CAPTAIN BLOOD" 

Glorious sea adventure from the thrill- 
packed pages of Rafael Sabatini. 

• 

"THE HONOR OF THE 
FAMILY" 

With Walter Huston. 

AND MANY OTHERS 




1930-1931 



The New Movie Magazine 



Cast your 




Vitaphone is the registered 
trade-mark of The Vita- 
phone Corporation. Color 
Scenes by the Technicolor 
process. 



WARNER BROS. PICTURES, INC. T 

321 West 44th St., N. Y. C. 

I should like to see all of the Vitaphone pictures which Warner 
Bros, and First National plan to produce this coming year. 
Please send me a photograph of 

(Insert Dame of any star mentioned in this announcement.) 

(Signed) 

(Address) - 

(Gfy & Staie) 




WARNER BROS. 



FIRST NATIONAL 



andVITAPHONE 



STARS cmdPICTU RES 



\ 



01 



l! Ill 

MM 

* I I I 



YOU have just read on the preceding page the 
most ambitious array of super-productions any 
company has ever dared to plan! 

Entertainment values that would ordinarily be spread 
over two years or more, will be concentrated by these 
two famous producers in a single season! 

Many of them will be radiant with the resplendent 
tints of Technicolor... and ALL will have the perfect 
tone of Vitaphone. 

If you enjoyed "Disraeli'V'Gold Diggers of Broadway", 
and the scores of other great Vitaphone successes 
released last year, you will want to be sure to see the 
stars and new productions of the companies that have 
proved theirpreeminence by turning out hits like these. 

To help bring these exciting shows to your 
theatre, use the ballot below NOW! Sign 
it and mail it today to Warner Brothers 
Pictures, Inc. 

Your choice will be brought to the attention of your 
theatre manager, and you will receive — FREE — a 
beautiful photograph of your favorite star. 
Also write or 'phone your theatre manager direct 
to let him know that you wish to see these 
famous stars and important productions. 



12 



The New Movie Magazine 




Gossip of the Studios 



T 



ALKIES have increased the earnings of the 
motion picture industry $500,000,000 a YEAR! 
They have doubled the attendance. 



J-JAROLD LLOYD had 

to postpone his 
scheduled trip to Hono- 
lulu, where a number of 
scenes in his next picture, 
"Feet First" are to be 
shot. The reason : an un- 
certain and troublesome 
appendix. And to add to 
his tough luck for the 
month, a $2,500 Great 
Dane prize dog died from 
poisoning. 



seeing as how they are getting one million dollars for 
thirty days' work. 




Charles Farrell: Wins news- 
paper popularity contest in 
New York and Chicago, de- 
feating Buddy and Gary. 



A/[ORE trouble about 
11 Rudie Valentino's 



estate. His brother, who 
had his face made over to 
look something like Rudie's and tried unsuccessfully 
to break into pictures, made a tiock of charges against 
George Ullman, Rudie's friend and business manager, 
who is the executor of the estate. Ullman showed in 
court that, far from mishandling the estate, he had 
built it up from being a half-million in debt to where 
over $300,000 was in the clear. That was done by the 
judicious exploitation of Rudie's pictures after his 
death. No other screen star's 
pictures have made money 
after his death. 



Hollywood has 160,000 pop- 
ulation. In the last ten years 
75 corner lots between Western 
and Highland on, Hollywood 
Boulevard show an average in- 
crease of $116,408 each in valu- 
ation. 



gILL HART is all right again 
after having had his tonsils 
removed. Lon Chaney was in 
the hospital at the same time, 
having a small operation on his 
throat. 



"pHECK AND DOUBLE 
^ CHECK" is the name of 
the picture Amos 'n' . Andy 
will make in Hollywood. And 
a right good name, say we, 



POSMO HAMILTON, 
^ author of "The Blind- 
ness of Virtue," has 
come to Hollywood to 
see what can be done 
about making better pic- 
tures. His first blast on 
arriving was to say that 
present marriage laws are 
the bunk ! "Marriage 
should be made so diffi- 
cult that nobody would 
want it," he said. On the 
same thought he advo- 
cated making divorces so 
easy anyone could get 
one at any time for any 
reason whatsoever. He 
has been married once — 
and divorced. 



noted British writer and 




William Powell: He slipped 

away quietly for a vacation 

touring Europe with his pal, 

Ronald Colman. 




Signor Benito Mussolini ran Al Jolson's "The Sing- 
ing Fool" in his private talkie theater in Rome. 



'"THOUSANDS of letters . coming to Marion Davies 
regarding her picture, "The Florodora Girl," seem 

to indicate that the world is of different opinions on 
the long skirts. But they all 
say they would not want to go 
back to the days of bustles and 
hoops. 



yiVIENNE SEGAL, New 
York stage star and now a 
Warner Brothers star has a 
pet punch she serves. One 
quart of grape juice, one pint 
of orange juice, one-half cup 
of sugar, four bottles of 
ginger ale and one-third cup 
of lemon juice. This makes 
three quarts of a rather tasty 
beverage. 



On his w ay back from 
Europe, Doug Fairbanks flew 
from New York to Hollywood. 



fllE DAILY NEWS (a 

New York tabloid), held a 

contest to decide the most 

13 



The Who's Who of Hollywood— what the 



popular screen players. 
Charlie Farrell led 
Buddy Rogers by over 
ten thousand votes. Janet 
Gaynor won the girl's end 
of the contest and beat 
Greta Garbo by a big 
margin. 

The Chicago Tribune 
held a contest and while 
the vote was not as heavy, 
Gaynor again beat Garbo 
and Farrell beat Gary 
Cooper. 



Mary Pickford: She stops work 

abruptly on her new picture \ PARTY of Holly- 
and sets Hollywood talking. -tl W00( j people, includ- 
ing Alexander Gray, 
Warner Brothers player, recently decided to live fifty 
years ago. So they dolled up in old time costumes and 
took a four-day horseback trip into the mountains — 
using nothing in the line of equipment except things 
which could have been used fifty years ago. That's an 
idea for some fun, at that. 




Gary Cooper was born on May seventh. 



] AWRENCE TIBBETT is back in Hollywood after 
■ L/ a concert tour. His next picture will be "New 
Moon" with Grace Moore, another opera singer, as his 
co-star. 



A BANDIT held up the Santa Fe's crack train. The 
■**■ Chief, just as it was pulling out of Los Angeles for 
Chicago. He took a $6,500 engagement ring and a 
$1,000 diamond encrusted dinner ring from Marian 
Nixon. He gave her back her wedding ring, which he 
had taken, when she began to cry. He took $400 in cash 
from Marian's husband, Edward Hillman. He knocked 
on the door of Mrs. Al Jolson's compartment but she 
had locked herself in and refused to unlock. She had 
caught a glimpse of the bandit and had dodged into her 
compartment. The bandit overlooked a $5,000 necklace 
around Miss Nixon's neck. 



T*HREE thousand feet 
over Hollywood an air- 
plane sailed through the 
clouds. In it were thir- 
teen people. They held a 
telephone and radio con- 
versation with Premier 
Mussolini, who was in 
Rome, for seven minutes. 
They talked to Ambas- 
sador Charles Dawes in 
London for five minutes. 
They gabbed with Di- 
rector Milch in Berlin for 
fourteen minutes. And 
then called up Mexico 
City, Ottawa, Canada and 
New York. That's an air 
chatter record. 

14 



Here is one Lilyan Tashman, who is regarded by 
many as the best dressed woman in pictures, is telling 
on herself. During a recent visit to New York she and 
her husband, Edmund Lowe, were guests at a dinner 
party at the fashionable Central Park Casino. Miss 
Tashman had a gorgeous new white gown for the occa- 
sion and couldn't understand why she felt so uncom- 
fortable all evening. It wasn't until after the second 
dance that she found she had the dress on hind side 
before. 



"DUTH CHATTERTON was forced to stay in bed 
for a week with a very bad cold which threatened 
to develop into pneumonia. She is okay again now. 
Ralph Forbes, her husband, and Ruth have rented 
Anna Q. Nilsson's house at Malibu Beach for the 
summer. 



ALMA RUBENS and her husband, Ricardo Cortez, 
■£*■ have come to the parting of the ways. Alma is 
suing for a separation, not a divorce. 



T OE SCHENCK offered George M. Cohan $1,000,000 
*^ to come to Hollywood and make talking pictures. 
Cohan accepted and started. He stopped off in Chicago 
to play in his drama, "Gambling," and it went so well 
he decided the stage was more fun AND TORE UP 
THE MILLION-BUCK CONTRACT. 



Ten years ago Beverly Hills had a population of 674. 
Today it has 17,428. An increase of 2465.7 per cent. 
Motion picture stars moving into Beverly attracted a 
lot of people! 



A/f ARSHALL NEIL AN and Blanche Sweet, recently 
***■ divorced, were seen lunching at the Embassy Club 
the other day. Blanche looked exceptionally pretty in a 
frock of green linen and a big floppy green hat. 



T 




ANIA FEDOR, a French belle who does not speak 
a word of English, landed on the Metro-Goldwyn- 
Mayer lot and had the boys running around in circles 
looking for dictionaries. She is um-yum pretty and 
going to make French versions until she learns to 

parlay Onglaze. 



Latin America bought 
more Hollywood pictures 
last year than all Europe. 
No wonder the producers 
have gone "Spanish ver- 
sion" mad. 



DERNICE CLAIRE 
had the flu for a 
while last month and no 
one knew it. Incident- 
ally her real name is 
Johnigan. She was born 
in California and is an 
Oakland girl. 



film famous are doing in the Movie Capita 



C PEAKING of Harold Lloyd and his dogs, forty of 
his prize-winning animals are going to be given 
away. $15,000 worth of dog. The reason is that the 
neighbors complain they are too noisy. When Harold 
built his kennels there was not a house within a half 
mile. Now the neighborhood has built up and although 
there first, the bowwows must go. 



I£KIC PEDLEY, of Hollywood and one of the best 
polo players in the United States. Mrs. T. H. 
Dudley (formerly Louise Williams), who was doubles 
champion of the United States with Mary K. Browne, 
and Marion Hollins, who was women's golf champion 
a few years ago, sat at a dinner seven years ago. They 
said that whichever one of them made a million dollars 
first would give the other two $25,000 apiece. 

Marion Hollins sold some oil rights in Kettleman 
Hills last month and gave another dinner. Underneath 
Pedley's and Mrs. Dudley's plates were checks for the 
25 errand. 



Raquel Torres' real name is Raquel Von Osterman. 



ENTERTAINING for the first time since her return 
to Hollywood, Mrs. Frederick Worlock (Elsie Fer- 
guson), and her husband, gave a dinner party at the 
Assistance League in Hollywood. 

This tea room is run for the benefit of charity, and 
many of the wives of prominent actors, writers and 
sometimes the stars themselves who can find the time, 
have contributed by serving at luncheon and dinner. 
The tea room is the top floor of a house, converted into 
a really charming old-fashioned dining-room. Mrs. 
Abraham Lehr is in charge of the activities. 

The room was lighted with many candles and deco- 
rated with pink and yellow spring and summer flowers. 
The small tables were set with 
quaint china and old silver, and 
everyone voted Miss Ferguson a lot 
of thanks for finding so new and 
charming an atmosphere for enter- 
taining away from home. 

The guests were Mr. and Mrs. 
Basil Rathbone, Mr. and Mrs. 
Lionel Barrymore, Mr. and Mrs. 
H. B. Warner, Mr. and Mrs. Louis 
Lighton (Hope Loring), Mr. and 
Mrs. Edwin Knopf, Mr. and Mrs. 
Benjamin Glazer, Ilka Chase, 
Ruth Shipley, Leonora Harris, E. 
Sidney Howard, Arthur Richman, 
Paul Dicey, Achmed Abdullah, A. 
E. Thomas and others. 



TV/TARY PICKFORD gave a 
luncheon recently in her 
pretty bungalow on the United 
Artists lot in honor of Mei Lan- 
Fang. the famous Chinese actor. 
As her guests she invited Mr. and 
Mrs. Maurice Chevalier, Mr. and 
Mrs. Louis Bromfield, Mr. and Mrs. 
Ernest K. Mey, Dolores Del Rio, 
Gloria Swanson, Joseph Schenck 
and C. C. Chang. 



Charlie Farrell and 
Virginia Valli are being 
seen everywhere together 
again now. 



gILLIE DOVE enter- 
tained with a supper- 
dance at the Embassy 
Club following the pre- 
mier of "Hell's Angels." 
The gowns of the women 
guests were particularly 
lovely. Small tables were 
set about the dance floor. 
Miss Dove was in a soft 
taffeta gown of green- 
blue, ornamented in gold 
stars, with a short jacket 




Harold Lloyd: Postponed his 
sea trip to make new film, be- 
cause of appendix. 




coat of the same material. 
The guest list included Charlie Chaplin, Mr. and Mrs. 
John Gilbert (Tna Claire), whose blonde beauty was 
set off by a white gown, with heavy silk fringe across 
the skirt; Mr. and Mrs. Walter Morosco (Corinne 
Griffith), in a lovely gown of pale blue with a tight 
little jacket of blue and gold metal cloth ; Ben Lyon and 
Bebe Daniels, Colleen Moore, John Considine and Joan 
Bennett, in Avhite tulle ; Jean Harlow also in white ; Mr. 
and Mrs. Richard Barthelmess, James Hall and Myrna 
Kennedy, Hoot Gibson and Sally Eilers, Mrs. Mae 
Sunday and Wallace Davis, Mr. and Mrs. Harold Lloyd, 
Mr. and Mrs. Allan Dwan. Gloria Swanson, Mr. and 
Mrs. Irving Thalberg (Norma Shearer), Estelle Taylor 
Dempsey, in a backless gown of beige lace; Mr. and 
Mrs. Ben Bard (Ruth Roland), Joseph Schenck, Vir- 
ginia Cherrill, Will Hays, Mr. and Mrs. Henry Hobart. 

# # * 

Bill Powell is in London with Ronny Colrnan. 



'"THE most brilliant dinner-dance 
of the season was given by 
Marion Davies at her beautiful 
beach home in honor of Baron De 
Rothschild, who was her house guest 
during his brief stay in Hollywood. 

The magnificent table in Miss 
Davies' dining-room was set for 
sixty guests and there was dancing 
in the lovely gold and ivory ball 
room, overlooking the ocean. 

On Miss Davies' right was the 
Baron and on her left Florenz Zieg- 
feld. Miss Davies wore a gown of 
pale blue chiffon, and magnificent 
sapphires, in a ring, bracelet and 
necklace. 

Her guests included Gloria 
Swanson, in a gown of silver gray 
lace, Mrs. Florenz Ziegfeld (Billie 
Burke), Mr. and Mrs. Louis B. 
Mayer, Mr. and Mrs. Frederick 
AVorlock (Elsie Ferguson), Mr. 
and -Mrs. Ralph Forbes (Ruth 
Chattei-ton, looked particularly 
beautiful in a dancing frock of 
pure white chiffon), lien Lyon and 
Bebe Daniels, Mr. and Airs. 
Richard Barthelmess, Mr and .Mrs. 

15 



Al the News of the Famous Motion Picture 




LupeVelez: She is still the 

storm center of popular Gary 

Cooper's affections. 



George Fitzmauriee, Mr. 
and Mrs. Adolphe Men- 
jou, Colleen Moore, Wil- 
liam Haines, Mr. and 
Mrs. Walter Morosco 
(Corinne Griffith), Bea- 
trice Lillie, Dorothy Mack- 
aill, Gene Markey, Cedrie 
Gibbons, Grace Moore in 
a white satin gown 
trimmed with brown 
feathers ; Dolores Del Rio, 
all in black with magnifi- 
cent diamonds ; Marilyn 
Miller, Betty Bronson, 
Lloyd and Carmen Pan- 
tages, Edmund Goulding 
and Seen a Owen, Mrs. 
Sadie Murray, Anita Murray, Matt Moore, Virginia 
Cherrill, Andre Luguet, Tania Fedor, and Mr. and Mrs. 
John Gilbert (Ina Claire). 



11JOLLYWOOD society has been remarkably gay of 
late. Parties for Bebe Daniels and Ben Lyon oc- 
cupied many high spots on the social calendar. 

Among the most interesting affairs was a luncheon- 
shower given by Mrs. Townsend Netcher (Constance 
Talmadge) at her beautiful beach home. The small 
tables were decorated with little dolls, dressed as bride 
and groom, and lovely spring flowers. Among the 
guests were Mae Sunday, Norma Talmadge, Marion 
Davies, Betty Compson, Lila Lee, Colleen Moore, Billie 
Dove, Louella Parsons, Mrs. Edwin Knopf, Mrs. Harold 
Lloyd, Mrs. Natalie Talmadge Keaton, Mrs. Peg Tal- 
madge, Mrs. Phyllis Daniels, Bessie Love, Corinne 
Griffith, Carmelita Geraghty and Seena Owen. 

The girls wore gay sport suits and Connie herself 
was in brilliant yellow pajamas, with a white satin 
waist and a long coat. 



Hoot Gibson has a new Packard speedster that steps 
up to 125 miles an hour. 



M 



'RS. SADIE MURRAY of New York, who has 
taken a home in Beverly Hills since her daugh- 
ter, Anita Murray, went into pictures, gave a beautiful- 
ly appointed dinner-dance for Miss Daniels and Mr. 
Lyon. A buffet supper 
for a hundred guests was 
served. The guest list in- 
cluded Mr. and Mrs. Ed- 
gar Selwyn, Mr. and Mrs. 
Maurice Chevalier, Mr. 
and Mrs. Don Alvarado, 
Colleen Moore, Leatrice 
Joy, William Haines, 
Beatrice Lillie, Polly Mo- 
ran, Dolores Del Rio, 
Marilyn Miller, Lloyd and 
Carmen Pantages, Mr. 
and Mrs. Jack Mulhall, 
Rube Goldberg, Lew 
Cody, Mr. and Mrs. Mil- 
lard Webb (Mary Eaton), 
Buster Collier and Marie 
Prevost, Marion Davies, 

16 



Cedrie Gibbon, Jimmy Shields, Ivan Lebedeff, Fifi 
Dorsay, Hoot Gibson and Sally Eilers, Elsie Janis and 
Mrs. Janis, Jack King. 



QLORIA SWANSON, whose husband, the Marquis 
De la Falaise, is still in Paris, and from whom it 
is rumored she may soon be divorced, is being seen out 
nowadays with a number of very distinguished and 
handsome young escorts. Among them Gene Markey, 
the writer, and Sidney Howard, the playwright. Small 
wonder she's popular. There has never been and prob- 
ably never will be as attractive a woman in the film 
colony as the stunning Miss Swanson. 




William Famum is fifty-four years old. 



QEORGE OLSEN'S Supper Club, on the road be- 
tween Hollywood and Santa Monica, is getting a 
great play from the film colony. Any evening you drop 
in there you are sure to see a number of stars dining 
and dancing. Mae Murray and her husband, Millard 
Webb and his pretty wife, Mary Eaton, were there 
with a party recently. Mae Murray looked stunning in 
black, with a little black and silver hat. Buster Collier 
and Marie Prevost were there, too, Marie in a white 
sports costume. Colleen Moore and Julanne Johnson, 
accompanied by Willis Goldbeck and Harold Grieve, 
Hollywood's favorite interior decorator, were having a 
gay little supper party. Eddie Cantor and his wife en- 
tertained a big dinner party. 



JOHN BARRYMORE and his wife, Dolores Costello, 
are planning to go to Alaska soon for the salmon 
fishing, aboard Jack's marvelous new yacht. They 
haven't decided yet whether to take little Miss Barry- 
more, who is only a few months old, but probably they 
will leave her at home in Beverly Hills. 



JANET GAYNOR is still at outs with the Fox Studios 
over stories. She says that she does not intend to 
do any more "High Society Blues," a picture she de- 
tested. However, now that Winnie Sheehan is back on 
the West Coast, the little star will probably have her 
difficulties adjusted. In the meantime she has taken a 
beach house at Playa Del Rey with her husband, Lydell 

Pack, and seems to be en- 
joying her vacation. She 
likes to slip away now and 
then and dance at the 
public dance hall on the 
Venice Pier, where no one 
ever recognizes her. 



Everyone in Hollywood 
is taking French or Span- 
ish lessons. 



tTOOT GIBSON and 
Sally Eilers expect 
to be married some time 
this summer. Not a big 
wedding, just a few inti- 



Stars and Their Hollywood Activities 



mate friends. Sally is reported on the verge of a Metro- 
Goldwyn-Mayer contract, and now that Ziegfeld has 
named her the most beautiful girl in Hollywood, she 
ought to be much sought by producers. Hoot is con- 
centrating on his new ranch at Saugus. He aims to 
make his yearly rodeo second only to the Pendleton 
Eound-Up. 



TV/TRS. PATRICK CAMPBELL, for many years one 
of the great actresses and great beauties of London, 
is in Hollywood — just for a visit, she says. She recently 
closed a London season in "The Matriarch." It is well- 
known that Mrs. Campbell has for years studied the art 
of the speaking voice, which is her great hobby. Holly- 
wood thinks she may remain to instruct young screen 
stars in proper dramatic speaking. An interesting addi- 
tion — for Mrs. Campbell is one of the old school of the 
famous actresses around whom legends center. Once 
when she played in New York the manager had to cover 
the streets for blocks with tan bark, because she said the 
noise of traffic disturbed her when she was playing. 



\/[ AURICE CHEVALIER'S wife is a very pretty lit- 
tie Frenchwoman, with blue-black hair and a vi- 
vacious manner. Her accent is fascinating and her 
sense of humor always ready. The other evening at a 
dinner party at Sadie Murray's she turned the tables 
on a "comic butler," imported for the occasion, and was 
much funnier than he was. She is a devoted wife, and 
the Chevaliers lead a very quiet life, always going home 
early from parties. Mrs. Chevalier has the same de- 
lightful French accent that marks her husband's speak- 
ing on the screen. 



Ten million dollars was paid for a tract of land in the 
mountains between Santa Monica and Beverly Hills. 
Eastern capitalists say they will make plenty of money 
on the deal. 



\X7"ITHIN ten days of the end, Mary Pickford has 
^ * called off her new picture, "Secrets," and the latest 
report is that she will start all over again with a new 
cast, director and cameraman — especially cameraman. 
The news shocked Hollywood, since it was rumored that 
she was getting a great 
picture out of this once 
successful stage play. 
Marshall Neilan was 
directing. 



ful wife. Jesse Lasky and 
Walter Wanger — Mr. 
Lasky has just returned 
from Europe to resume 
active control of the Para- 
mount forces. Dolores Del 
Rio, very lovely in a sport 
suit of green, with her 
most intimate friend, Mrs. 
Don Alvarado. Mrs. 
George Fitzmaurice and 
Mrs. Richard Barthel- 
mess. Mae Sunday, in a 
white skirt and an orchid 
sweater, and Beatrice Lil- 
lie. 




Mrs. Maurice Chevalier: A 

former Paris favorite, she has 

a ready wit. 



D 



HpHE Embassy is very 
gay at lunch time 
these days. Saw Evelyn 
Brent there the other 
day, lunching with 
Micky Flynn. Monta 
Bell, just back in Hol- 
lywood after directing 
in New York, at a table 
with Mr. and Mrs. Ed- 
gar Selwyn. Carmel 
Myers with a group of 
girl friends. Warner 
Baxter and his beauti- 




,OUGLAS FAIRBANKS, born in Denver, Colo- 
rado, had a birthday May 23rd. The stars that 
day said : Self-confidence, perseverance and enthu- 
siasm are characteristics of those born today. Their 
actions reflect daring, courage, forcefulness and 
thought and, while they are artistic, they also possess 
business ability. Which is a pretty good description 
of one Doug Fairbanks as Hollywood knows him. 



Vilma Banky says she never did realize what happi- 
ness was until she retired from the screen and became 
a home-maker for Bod La Bocque. 



tJARRY LAUDER says they make talkies better in 
Hollywood than in England and that is the rea- 
son he is going there to make his first talkie. 



"lyiNNIE SHEEHAN, newly elected head of Fox 
Films, was given a monster banquet upon his re- 
turn to Hollywood from New York. One hundred and 
thirty-five people, among them Will Hays, Will Rog- 
ers, Flo Ziegfeld, Sam Goldwyn, Al Jolson, Sid Grau- 
man, Rube Goldberg, Irving Thalberg and Cecil B. 
De Mille whooped it up in his honor. 



QARY COOPER and 

Lupe Velez were 
riding on the roller 
coaster at the Venice 
Pier, a beach near Hol- 
lywood. Gary wanted 
to get off after the sec- 
ond trip but Lupe 
adores the roller coast- 
er, so they rode seven- 
teen times more. After- 
wards they visited all 
the concessions a n d 
Lupe went home load- 
ed with vases and kew- 
pie dolls, ornamented 
w i t h feathers. The 
strong, silent young 
man of the films seems 
to be wax in Lupe's 
hands. 



rt<KIWU.»n r_ 



17 



WHAT HOLLYWOOD FOLKS ARE TALKING ABOUT 



D' 



}OUGr MacLEAN just returned to Hollywood from 
a trip around the world on a freighter. He is busy 
writing a play. 



Who has forgotten 
'Seventh Heaven" f 



XTNUTE ROCKNE is 
going to make a se- 
ries of short football talks 
— illustrated — for Pathe. 
What with the movies, 
newspaper and magazine 
writing, after-dinner 
speeches, and whatnot, it 
is getting so that football 
coaches are doing every- 
thing except coach foot- 
ball. 




George Bancroft: Goes to 

New York to negotiate a new 

Paramount contract. 



JJOLLYWOOD is fast 
becoming the liter- 



ary center of the world. 
Theodore Dreiser (The American Tragedy), P. G. 
Wodehouse (Jeeves), Richard Hali burton (Royal Road 
to Romance), Louis Bromfield (Green Bay Tree), "W. 
E. Woodward (Meet General Grant), Sinclair Lewis, 
Will Durant, Zoe Aiken, Frederick Lonsdale, Rupert 
Hughes, Gene Markey, Maxwell Anderson and a flock of 
other noted authors are all in the cinema city. 



Blanche Mehaffey has changed her red hair to blonde 
and her name to Joan Alden. 



T RENE MAYER and Dave Selznick, newlyweds, took 
a honeymoon trip across the continent without even 
as much as a toothbrush for baggage. Their grips were 
sent to the wrong station in Los Angeles, so missed their 
train. Then Papa Louis B. Mayer put the bags into an 
airplane hoping to catch the train at Albuquerque. But 
engine trouble forced the plane down and the young 
couple were shirtless until Chicago. 



QHARLIE CHAPLIN held up traffic by blocking the 
streets in Beverly Hills. But he did not intend to. 
He just shot some scenes in the street and people flocked 
around until the cops had 
to be called. 

* * * 

gEN LYON'S fan mail 
dropped from over 
five hundred a day, which 
he was getting when he 
started "Hell's Angels," 
to twenty-five a day at the 
end of the picture. That's 
because he was almost 
three years off the screen. 
But now the postman is 
beginning to get weary 

again. 

# * # 

npHEODORE DREIS- 

ER, the famous author, 

in Hollywood on both 

18 



business and pleasure, says that before he made any 
money he had trouble dodging bill collectors. Now that 
he has money he has more trouble dodging bond sales- 
men. "And of the two the bond boys are the tough- 
est," he says. 



A MOVEMENT i s o n 
■^ foot among educators 
of children to make the 
talking picture the next 
text-book. Historical and 
geographical subjects will 
be made into one-reelers 
and shown school children 
in the classroom. Nature 
studies will be photo- 
graphed in color. 

Can you imagine the 
difference between read- 
ing about Washington at 
Valley Forge and seeing 
it in a motion picture ? Or 
the Battle of Bull Run? 
Or the Gettysburg address ? 
and Hamilton? Instead of 
ol' swimming hole on a hot 
longer lose interest. 




John Barrymore : Going on 

his yacht to Alaska with his 

wife, Dolores. 

Or the duel between Burr 
having their minds on the 
May day, the kids will no 




A CHIMED ABDULLAH, magazine writer now break- 
ing into the movies, says he is just a laborer, "turn- 
ing out stories instead of laying bricks." 



CIX alligators got loose on the Metro-Gold wyn-Mayer 
lot and could not be found. Buster Keaton, in 
making his latest picture, Avalks into a seven-foot-deep 
mudhole and disappears. He came up gasping and got 
out of the hole in a hurry. Looking at a tear in his 
panties he yelled, "Tell that zoo one of their damn alli- 
gators is in my hole." 

* * * 

A L JOLSON has given funds to be used to erect a 
■^ Catholic Church at Palm Springs, desert resort not 
far from Hollywood muchly frequented by movie folk. 
This in order that tourists who wish to go to church 
can do so without crowding the small, homely building 
now used by the Indians. 



Shades of red and Hue 
are the most popular col- 
d's in Hollywood. 

* # * 

TORETTA YOUNG has 
a new contract which 
calls for $875 a week for 
the first year, $1,250 a 
week the second year, 
$1,750 the third, $2,250 
the fourth, and $2,750 a 
week the fifth year. First 
National has the option of 
canceling the contract at 
the end of any year. But 
figure it up, if they don't. 
(Continued on page 97) 




MARGUERITE CHURCHILL 



Photograph by Autrey 

L9 




Photograph by Hurrell 



RAQUEL TORRES 



20 




WILLIAM POWELL 



Photograph by Richee 



21 




Photograph by Hurrell 



NORMA SHEARER 



22 




RICHARD BARTHELMESS 



Photograph by Elmer Fryer 



23 




Photograph by Hurrell 



CHARLES BICKFORD 



24 




MARION DAVIES 



Photograph by Hurrrll 



25 





AL JOLSON 



26 



Back 
to Her 

FIRST 

HATE 



By DICK HYLAND 



ELSIE FERGUSON has returned to her first 
hate. 
She is- back in motion pictures. 
Eight years ago, Elsie Ferguson volun- 
tarily abdicated her Hollywood throne. She turned 
her back upon the world-wide fame which the 
screen alone can give an actress. She gave up a 
salary which paid her thousands of dollars every 
week. 

A star whose beauty and ability had raised her 
in a few pictures to rank with the greatest, she 
simply and without explanation walked out on Holly- 
wood. 

Now she has come back. The great position she 
left was not waiting for her. That doesn't happen. 
Where once her name was twenty-four-sheeted in movie 
palaces, as it had been for years on Broadway, her first 
role after her return was a supporting one with George 
Arliss. 

As there was much talk when she went away, there 
is much talk now that she has come back. Seeing her 
one evening, slim and lovely and serene as ever, I 
wondered why she had left the screen and why she had 
returned. Her fans had been sad when she went away 
and would be happy, even after many years, to know 
that she was once more before the camera. 

T WENT to the Beverly Hills Hotel to ask her. I 
•■■ went a little timidly, because I had heard plenty of 
tales relating to the Ferguson temperament. 

My fears were groundless. A more gracious lady I 
have never met. Charming, frank, easy to talk to, the 
loveliest speaking voice I have ever heard, little flashes 
of humor illuminating her serious talk, she gave me 
three of the pleasantest hours I have ever spent in 
Hollywood. 

"Why did you leave the screen?" I asked her. 

She mused a moment. I studied the graceful line of 
her head, the clean-cut features. She is the patrician, 
poised type of beauty, with the perfect features that 




Elsie Ferguson left pictures because she wanted to use her 

voice. She wasn't happy and she went back to the stage. 

Now she has returned to the talking screen. 



years do not touch, unless to make more attractive. 

"Have you ever been in a stuffy room for a long 
time," she asked me, "and suddenly felt that you just 
had to go out and get a breath of fresh air? That is 
the way I felt about "pictures. You see, to me fame 
and money don't mean much if you're not happy. I 
wasn't happy making motion pictures. So I left and 
went back to the stage." 

In that last sentence is more than appears upon the 
surface. Elsie Ferguson loved the stage and the op- 
portunities it gave her. 

Coming from the stage to silent films, Elsie Fer- 
guson's beauty and acting ability made her a great 
success. But not for long would she be content. 

PLSIE FERGUSON'S voice was a great part of her 
*-* work. For years, while New York audiences packed 
theaters to see her in "Outcast" and other plays, she 
had trained herself to achieve much of her dramatic 
effect through her voice alone. For only a short time 
could she be happy without using it. For a while she 
struggled along, feeling bound and handicapped, grow- 
ing restless and unhappy. Then the urge to get back 
to the stage became so great that it could no longer 
be denied. 

But the day she heard her first talkie a new vista 
opened. The advantages of the camera with its wide 
scope, plus the possibility of using the voice, thrilled 
her and awakened in her (Continued on page 119) 



'I have no false pride. It doesn't bother me that I was 
a star and am not one now. I'm still Elsie Ferguson/' 



27 




Al Jolson 
$1,000,000 a year, 



Looking into theStars' 

Motion Picture Salaries are Tumbling After the Most 
Radical Upheaval That Ever Hit Hollywood 



ARE movie salaries coming down? 

/\ The most radical salary upheaval that ever 

y~\ hit Hollywood followed the advent of the talkie. 
Indeed, any number of stars were eliminated — 
salary, position and all. 

Past reputations in the silent drama meant nothing. 
New singing faces and dancing feet were imported 
from the Broadway stage. The screen went musical 
comedy mad. 

Favorites of years standing were pushed to the wall. 
Some of them, as Richard Barthelmess, survived — and 
went on to new heights. Others, such as Tom Mix, Emil 
Jannings, Pola Negri, Thomas Meighan and Adolphe 
Menjou, were shunted aside. Right now more stars 
seem about to be pushed from prominence. Among 
these are Colleen Moore, Corinne Griffith and Billie 
Dove. Such favorites of yesteryear as Jack Gilbert and 
Lon Chaney have their careers hanging in the balance. 

Even worse than the havoc wrought among the stars 
has been the situation con- 
fronting the featured players. 
The avalanche of stage play- 
ers and dancers has crowded 
them into the background. 

There is little question that 
— in this puzzling year of 
1930 — the star is waning and 
movie salaries are going 
down. The tendency has been 
in that direction for the last 
two years. As to the future, 
the authors of this article dis- 
agree. Mr. Lane believes that 
the star is done and that sal- 
aries will drop from twenty to 
fifty per cent further. Mr. 
Smith thinks that the talkie 
will develop a new set of stars, 
since the fundamental appeal 
of the screen — silent or noisy 
— is personality. And, with 
the development of new stars, 
he believes that salaries, after 
an era of adjustment, will 
head upward again. 

28 



In 1915 Mary Pickford topped movie 
salaries at $2,000 a week. 
In 1920 Alia Nazimova was drawing 
the highest salary, $13,000 each week. 
As head of her own company, Mary 
Pickford had climbed to $500,000 and 
Charlie Chaplin was close behind. Bill 
Hart earned $900,000 in the years of 
1919 and 1920. Theda Bara was get- 
ting $4,000. 

In 1925 Harold Lloyd topped the field, 
running close to $1,500,000. 
This year Al Jolson leads, at $1,000,000. 
Just behind are Harold Lloyd, Mary Pick- 
ford, Doug Fairbanks, Charlie Chaplin, 
Gloria Swanson and Norma Talmadge. 



Before detailing the salary damages of the last two 
years, it is interesting to note how movie acting re- 
muneration climbed steadily upward for fifteen years. 

TN 1915 Mary Pickford was drawing the fattest salary 
A envelope. Every week she received a check for 
$2,000. Charlie Chaplin was banking exactly $1,000. 
Frank Keenan was getting the top salary for a dramatic 
star, $1,000 each week, from the late Thomas H. Ince. 
Francis X. Bushman topped the screen lovers at $750 
a week. Two stage stars came to films for brief en- 
gagements in 1915. Billie Burke received $40,000 for 
one picture, "Peggy." Geraldine Farrar was given the 
same amount for three pictures. 

Turn now to 1920. Five years have passed. The 
highest salaried player is Alia Nazimova. Metro paid 
this bizarre star $13,000 a week. Next among the 
salaried stars were Elsie Ferguson, who is just starting 
a Hollywood come-back, and Geraldine Farrar. These 

two stars received $10,000 a 
week. 

In 1920 Mary Pickford, as 
head of her own company, 
profited to the tune of 
$500,000 on the year. Charlie 
Chaplin made something less 
than a half million. Norma 
Talmadge and Anita Stewart 
each earned close to $500,000 
during 1920. Bill Hart ran 
up the total of $900,000 in 
earnings in the two years of 
1919 and 1920. In 1915 he 
had been drawing $300 a 
week. 

Theda Bara was receiving 
$4,000 a week. Other highly 
paid stars of 1920 (earning 
between $1,000 and $5,000) 
were Marguerite Clark, Pearl 
White, Pauline Frederick, El- 
sie Ferguson, Mabel Normand 
and Mae Marsh. Charlie Ray, 
one of the idols of the day, 
was getting but $500, how- 




Norma Talmadge 
$250,000 o year. 



Richard Barthelmess 
$450,000 a year. 



Greta Garbo 
$300,000 a year. 



SALARY ENVELOPE 

BY TAMAR LANE AND FREDERICK JAMES SMITH 




ever. Richard Barthelmess and Lillian Gish were 
drawing even less. 

James Kirkwood and Henry Walthall topped all 
leading men in 1920 in earning capacity. These two 
actors received $1,000 each. The average leading man 
received $750 or less. Leading women earned $500 
or so, and prominent in popularity were Betty Comp- 
son, Gloria Swanson, Florence Vidor, Wanda Hawley, 
Naomi Childers, Lois Wilson and Anna Q. Nilsson. 

MOVE on five more years. It is 1925. Harold Lloyd, 
not visible to the naked eye in 1915, has flashed 
from nowhere to nearly $30,000 a week. His earnings 
were totaling close to a million and a half every twelve 
months. The big money earners in 1925 were Mary 
Pickford and Doug Fairbanks, at about a million each ; 
Charlie Chaplin, something less, due to slow produc- 
tion; and Norma Talmadge, a million. 

Here were some of the big salaries of 1925 : Tom 
Mix (the biggest flat salary), $15,000 a week; Rudolph 
Valentino, $100,000 a picture; Lillian Gish, Gloria 
Swanson and Thomas Meighan, $8,000 a week each; 
Pola Negri, $5,000; Richard Barthelmess, $2,500; Bar- 
bara La Marr, $3,000; Corinne Griffith, $3,000; Milton 
Sills, $2,500; Ramon Novarro, $2,000; Richard Dix, 
$1,500; Lon Chaney, $2,500; Raymond Griffith, $1,500. 

Conway Tearle and 



Swanson and Norma Talmadge. These stars have their 
own companies and their earnings depend upon the film 
profits. These profits have slumped in varying degrees. 
Lloyd has moved down to $700,000, Chaplin to $250,000, 
Miss Swanson to $400,000, and Miss Talmadge to 
$250,000. Miss Pickford and Mr. Fairbanks are making 
about $500,000 each. 

Two of the highest salaried stars are Dick Barthel- 
mess and John Barrymore. Mr. Barthelmess is averag- 
ing well over $8,000 a week to make only two pictures 
a year. These two pictures occupy about three months 
in the making, leaving the rest of the year free. John 
Barrymore gets $150,000 a picture. 

One of the record salaries of the year was paid to 
John McCormack, the Irish tenor. He received $50,000 
a week for a period of slightly less than ten weeks to 
make "Song o' My Heart." Marilyn Miller is said to 
be getting $200,000 for each film in which she appears. 
George Arliss draws down $50,000 a picture. Lawrence 
Tibbett's salary has been reported to be as high as 
$75,000 a picture. 

The newer stars still draw what are termed moderate 
salaries. Buddy Rogers was getting $1,000 a week 
until recently, Nancy Carroll draws $1,200, Gary Cooper 
$1,500, Richard Arlen $1,000, and John Boles $1,000. 
These players are on the edge of big money. 



Eugene O'Brien topped 
the leading men with a 
weekly salary envelope 
containing $3,000. Tom 
Moore was right be- 
hind at $2,500. Flor- 
ence Vidor led the 
leading women at 
$2,000. 

WITH which we 
come to 1930. To- 
day we find Al Jolson 
riding at the top, with 
yearly earnings run- 
ning over the $1,000,- 
000 mark. The big six, 
iust behind, are Harold 
Lloyd, Mary Pickford, 
Douglas Fairbanks, 
Charlie Chaplin, Gloria 



1910 1915 1920 1925 1930 1935 



G 



EORGE BAN- 





















N 




v 








\ 


ill 


J 












• 










~1 


1 










111 


I 










Hi 


III 















$30,000 
$25,000 
$20,000 
$15,000 
$10,000 
$5,000 
$1,000 



The talkie has knocked the Hollywood pay envelope to bits. 

The trend for two years has been downward. What has 1935 in 

store for the mcvie actor? 



paid $4,500 a week and 
has been asking $8,000. 
Hence his recent dis- 
agreement with Para- 
mount. However, an 
adjusted increase has 
been given him. 

Here are a few of 
the bigger salaries, 
quoted at random : 
Ruth Chatterton, 
$2,250; William Powell, 
$1,700; Janet Gaynor, 
$3,000; Richard Dix, 
$5,000; Warner Bax- 
ter, $2,000 ; Ramon No- 
varro, $5,000; Norma 
Shearer $5,000; Ronald 
{Cont'd on page 102) 

29 




Photograph by Elmer Fryer 



LORETTA 
YOUNG 



The beautiful young First National star as the heroine, Rosalie, of the new talkie 
version of Sir Gilbert Parker's "The Right of Way." Conrad Nagel will play the 

role of Beauty Steel. 



FLASH BACKS ,o,0YearsA9 ° 



By Albert T. Reid 




31 




Marie Dressier is 
Poison to the Stars 
of Hoi lywo o d. 
No Picture is Safe 
when she's around 



THERE is a thief abroad in 
Hollywood. 
At the mention of that name 
the greatest stars in the busi- 
ness tremble as Scotland Yard once 
trembled at the name of Raffles. No 
one is safe — not even the immortal 
Garbo. 

Give her enough footage and she'll 
steal any picture from anybody. 

Stealing a picture is an achieve- 
ment almost as difficult as robbing 
the Bank of England. In Hollywood 
it is the secret ambition of every 
actor and actress who isn't a star. 

Stealing the show is an old stage 
custom which has elevated many a 
name into electric lights. 

Stealing a picture is the latest 
short cut to high salary in the 
movies. 

It means that in a subordinate 
role someone has overshadowed the 
star. A player cast in a role less 
important than the star's receives 
the best notices, the most applause 
and stands out as the person to be 
remembered in that particular pic- 
ture. 

Marie Dressier has made an art of it. 

CHARACTER women, especially 
comedy character women, are 
not supposed to steal pictures. It's 
agin nature. They are supposed to 
remain in the background as props 
and supports for the glittering youth, 
male or female, who happens to oc- 
cupy the major portion of the title 
sheet. 

The background hasn't been in- 
vented that can hold Marie Dressier. 
She just naturally pops out. 

Walking across the M-G-M lot 
the other day, I heard someone say: 
"Well, she's done it again." 

Inquiry revealed that Miss Dressier 
had just finished stealing "Let Us 
Be Gay" from 



There are two rea- 
sons why Marie 
Dressier is able to 
dominate scenes and 
pictures: First,shehas 
a tremendous per- 
sonality, vibrant with 
fascination, with 
sheer h umanity, 
second, she has had 
forty years on the 
stage, at everything 
from chorus girl to 
star. 



Norma Shearer, 
Rod La Rocque, 
Sally Eilers and 
Gilbert Emery. 
Miss Shearer is 
young and beau- 
tiful — more 
beautiful than 
she has been at 
any time in her 
screen career. 
Besides being 
an excellent ac- 
tress she is the 
wife of Irving 



Th 
THUNDER 

THIEF 



By 

ADELA ROGERS 
ST. JOHNS 



Thalberg, dictator extraordinary of the Metro-Goldwyn- 
Mayer productions. He'd be a funny man if he didn't 
see to it that his wife didn't get any .the worst of it 
in stories, directors and production value. 

Nevertheless, Marie Dressier had succeeded 
taking the honors. 




in 



BILL HAINES, who is one of her greatest friends, 
said to me the other day: "Look what she did to 
me, the old thief. Why, she just took 'The Girl Said 
No' right out from under my nose. Once you let her 
on the set you're finished. 

"She said to me, 'Oh, Bill, my teeth. I've had such 
trouble with my teeth. It's funny, since we've got such 
fine dentists, how much more trouble you have with 
your teeth than you ever did before. What is this 
picture? I'm sure I can't do it. My teeth bother me 
so. They say I did well in "Anna Christie." Well, 
Bill darling, if you really want me — I was going to 
Europe — still — ' 

"I wanted her all right — and look what happened." 

Rumor hath it that she has stolen "The Swan" 
(now called "One Romantic Night") from Lillian Gish. 
Greatest of all, in a part that ended early in the pic- 
ture, she ran a neck and neck finish with Garbo in 
"Anna Christie." If she'd had another reel it would 
have been just too bad. I know the thing I remember 
best in that picture is Marie Dressier. 

Why? 

THERE are two reasons, I think, for Marie Dress- 
ler's power to dominate scenes and pictures. 

First, she has a tremendous personality, vibrant 
with fascination, with sheer humanity. In every little 
moment, in every big scene, she is so human that she 
stirs the memory-mind of each individual in the audi- 
ence. Her comedy and her pathos are part of her 
and they are expressions of the comedy and pathos in 
our own lives. 

Second, she has had forty years on the stage, at 
everything from chorus girl to star. 

Give anyone a fine natural gift and forty years in 
which to perfect the tools to carry on that gift and 
you have something so deep and mellow and powerful 
that youth itself must fall before it. 

Into her work Marie Dressier pours all that she is 
as a woman, and her long experience of dramatic tech- 
nique projects her wide understanding of life right 
out of the screen and into the very heart of a crowd 
always hungry for the tears that are close to laughter 
and the laughter that is close to tears. 

And as a woman Marie Dressier is — let me see — 



No woman wants to be a comic. Marie Dressier never 
wanted to be a comedienne. She has always longed 
to do big dramatic roles. Then — close to sixty — her 
dream came true with the role af Marthy in "Anna 
Christie." 



she's — no, there is no one phrase, no short sentence 
that can contain her. As well try to describe the 
state of California in a few words. 

She's ornery — just plain ornery. She's magnificent 
in honesty and generosity. She's a veritable up- 
heaval of emotion. Her heart is as big as the Grand 
Canyon, but her mind is keen and shrewd, quite capa- 
ble of looking out for Marie Dressier and her inter- 
ests. Her vocabulary contains more superlatives than 
any other in Hollywood. Her likes and dislikes are 
as positive as Mussolini's. She is afraid of nothing 
and nobody — in fact she is one of the few people in 
this business who seem free of the fear complex in 
some form or another. Approaching sixty, her vital- 
ity and interest in life would shame sixteen. 

Altogether, she is a grand person. 

TAKE Marie in a bridge game. She adores bridge 
and plays an amazing game. 

But the excitement! The tenseness! The battle 
of it! 

You sit down at a bridge table with Marie. She 
scoops up her cards and without deigning to give them 
a glance, bids one no trump. If her partner fails to 
bid at any time, she is seriously annoyed. "You've 
got thirteen cards, haven't you?" she says. Having 
over-bid recklessly, she then {Continued on page 122) 

33 




Left to right, Dolores Costello, Colleen Moore, Lila Lee and Fay Wray — all owners 

of retrousse noses. The retrousse indicates pliability to direction, love of the 

beautiful, an emotional rather than a reasoning quality, and a capacity for 

memory. Also a large love nature. The retrousse has its drawbacks, too. 

WON by a NOSE 



WON by a nose! How often one hears that 
expression to describe a close race. Then 
there is the story the colored comedians al- 
ways tell about the horse that stuck out his 
tongue and won the race. Modify this story a little 
and you have a true story. The girls in Hollywood 
tip-tilt a perky nose, languidly lift the upper lip a 
trifle, and they win a race, too — the race for fame 
and fortune. It is amazing when one considers the 
number of retrousse noses, often accompanied by a 
short upper lip, that there are among the very suc- 
cessful stars in Hollywood. 

The saucy tip-tilted nose was much preferred by 




SMALL DEFENCE: 



^^i Medium Attention 
i i large observation 

Little intuition 
Small reason 

laudation 



DOLORES COSTELLO 



gentlemen in the days before Anita let loose her flood 
of propaganda about gentlemen preferring blondes. 
Anyone can be a blonde; but a nose is different. Any- 
way, in those halcyon days, a group of directors set 
up a vogue for the retrousse nose and the short upper 
lip. No actress lacking these two characteristics was 
considered to conform to Hollywood's standard of 
beauty. Interestingly enough, the retrousse nose and 
the short upper lip often go together. 

The days are past when the type of nose and lip 
determines a girl's eligibility for pictures. There are, 
of course, many very successful actresses who do not 
possess a retrousse nose; the really astonishing thing 
is the number who do. A list of thirty names, drawn 
from the actresses of prominence in Hollywood, shows 
retrousse noses, many with the short upper lip. 

A suspicion is bound to dawn in anybody's mind 
that the preponderance of retrousse noses might have 
some explanation. It can not be explained by the old 
cult for retrousse noses, for many of the retrousse 
noses of famous stars would never be considered beau- 
tiful. This is so true, and so much realized by some 
of them, that it is almost impossible to get a profile 
picture showing the retrousse unadorned. When some 
of these stars do consent to pose in profile, the result 
is so much touched up, or foreshortened by the camera- 
man's craft, that it is a little difficult to recognize the 
profile of the star concerned. Colleen Moore, 
Betty Compson, Jetta Goudal and Mae Murray never 
have had profile pictures made. 

A few are brave enough to 
challenge critics and say, "Here's 
my nose! Take it or leave it, ad- 
mire it or criticize it, but it is 
my nose!" Among these are 
Gloria Swanson, Lillian Gish, Euth 
Chatterton and Dolores Costello, 
the four most distinguished re- 
trousses of pictures. None can 
deny their beauty and talent. 

Aristotle, who lived before 
they had motion pictures, was the 



Dolores Costello's face 
charted in detail. Miss 
Costello's nose belongs to 
the between type, not very 
long and not very short, 
with broad upturned tip. 
This type are not possessed 
of inspiration, as are their 
longer nosed sisters. 



34 





Reading across: Lupe Velez, Laura La Plante, Betty Bronson and the glorious 

retrousse, Gloria Swanson. Miss Swanson has the long pointed retrousse that 

marks the most distinguished actresses. This indicates the ultimate in inspiration 

and intuition. No great actress can be without this type of nose. 



The Retrousse Is the Actress Nose and All the Big Stars 
of Hollywood Possess Concave Nasal Profiles 

BY ROSALIND SHAFFER 



first phrenologist, the first man to associate character 
traits with the features. Many thinkers since Aristotle 
have said that the features indicate one's real character. 

JUST what is a retrousse nose? A true retrousse nose 
is one which has a concave outline from its tip to its 
base between the eyes. It may be slightly concave, or 
it may be very concave, its tip may be pointed or blunt, 
it may be slightly bumpy, or of a quite clean-cut curved 
outline. Looking at it from the front, it may be wide 
all down the face, or it may be narrow. It may have 
narrow nostrils or wide ones. But it is a retrousse 
nose if the profile shows its outline to be concave. 

Retrousse noses group themselves generally into three 
classes, the long, slightly pointed retrousse of Gish, 
Swanson, Chatterton, Barbara LaMarr, Pauline Freder- 
ick, Louise Dresser and Joan Crawford ; the rounded 
tipped, slightly shorter nose of Costello, Vivian Duncan 
and Clara Bow; and the shortest tip-tilted retrousse of 
Anita Page, Nancy Carroll, Jetta Goudal and Renee 
Adoree. 

Before we get down to sticking pins in these gor- 
geous butterflies, and putting them in separate boxes, 
it will be in order to sit awhile in the sunshine and 
observe the glorious lepidoptera in a general way. 

Don't laugh when I tell you that a girl with a re- 
trousse nose has no strong will. When Aristotle tucked 
up his toga and waded into this subject way back in 
the days before the Gish Sisters were discovered, he 
noticed that there are three places along the bridge of a 
girl's nose that are either promi- 
nent, so as to form the arc of the 
Roman nose, or lacking, so as to 
produce our concave nose, the 
retrousse. After watching the 
gals in the forum and out, he no- 
ticed that the ones with the 
Roman noses said "No" quite by 
instinct, and usually remained 
old maids, while the girls with 
the retrousse said "Yes" after 
more or less arguing, according 



to how retrousse the nose under consideration was. 
Getting serious, the three points mentioned are re- 
ferred to by the phrenologists as aggression, protection 
and self-defense. (See the facial map on page 36.) 
They all group under defense. 

ANALYZING these three points separately is neces- 
sary, for often a girl will have a slight hump at 
one of the three spots, on an otherwise concave nose. 
That means that she has exactly what that hump 
stands for, though she may not have the other two of 
the three points under defense. 

The point coming first after the root of the 



Gloria Swanson's famous 
profile charted in detail. 
The long septu, or nose 
bone, means the possession 
of inspiration. Lillian 
Gish, Pauline Frederick 
and Barbara La Marr be- 
long to this interesting 
retrousse class. 



Attention V 

INQUISITIVENESS 



Laudation 




GLORIA SWANSON 



35 



READ YOUR REAL INNER CHARACTER IN YOUR NOSE 



nose, the first possible eleva- 
tion after the dent where the 
eye fits into the profile, is the point 
of aggression. This point deter- 
mines the practical business ability 
of the person. People with no 
elevation at this spot are poor 
business people. Retrousses are 
of the creative type, interested 
primarily in emotion, and practical 
affairs mean little to them. It is 
certainly well known and accepted 
that few stars are good business 
women. Only recently Gloria 
Swanson has put her affairs into 
the hands of a manager who in- 
vests her money and pays her 
bills; this after years of making 
enormous money. 

Lillian Gish could be expected 
to be as foolish financially as 
Swanson, if it were not that her 
nose shows such a pronounced de- 
pression at the base, right at the 
eye depression before it joins the 
bulge of the forehead. This depres- 
sion, which shows a capacity for 
deep thought and analysis, counter- 
acts the bad sign of no aggression 
shown in the contour of her delicately retrousse nose. 

Jetta Goudal also has this depression, which proved 
itself in the way she sued and collected from Cecil De 
Mille for a broken contract. Miss Goudal may be seen 
in the markets selecting her own vegetables. No one 
will fool her about money, in spite of her retrousse with 
its lack of aggressiveness. 

Clara Bow, another unwise person about saving her 
money, which she has scattered with prodigal and 
thoughtless generosity on her father and her friends, 
is an improvident retrousse. Betty Bronson is still an- 
other who did little saving and haymaking while the 
movie sun shone. 

Louise Dresser lost a very sizable sum in an unwise 
investment a couple of years ago. A retrousse, she was 
rather easily victimized and did not investigate all the 
ramifications of the deal in which she was "taken" 
for a small fortune. 

Barbara LaMarr was continually enmeshed in debt 
and was most unwise and incapable in business affairs. 
Her death found little but debts at the end of a bril- 
liant career, instead of the possible sizable fortune. 

Mrs. Lucille Webster Glea- 
son found herself so unable to 
cope with the stream of gold 
coming into the Gleason 
coffers from her husband 
Jim and her son Russell, as 
well as herself, that she, too, 
has acquired a manager. 

Mabel Normand, realizing 
her incapabilities to manage 
money, selected a business 
manager long before her 
death and invested her money 
through him so that she was 
independently wealthy. 

Madge Bellamy, another 
charming retrousse, found 
herself with a forty-room 
mansion, full of expensive 
furnishings, when her dis- 
agreement at the Fox Studios 
left her with an uncertain 
income. The retrousse is a 
menace ! 

Joan Crawford found that 
she and her husband, Douglas 




Lillian Gish might easily be a spend- 
thrift. But she is saved by a pronounced 
depression at the base of her nose. 
This shows a capacity for deep thought 
and analysis. 



AGGRE'5'3lON 



PROTECTION 



DEFENSE 



Fairbanks, Jr., had overreached 
themselves in expenses. They sold 
their house and have gone into an 
apartment. The retrousse pur- 
sues them still. 

On the other hand, look at Bebe 
Daniels, with her Roman nose; 
everything Bebe touches turns to 
money. Witness the four beach 
houses she recently built and fur- 
nished, and sold for a profit. Mary 
Pickford, acknowledged by every- 
one to be a competent financier, 
shows this bump. 

AUTHORITIES on phrenology 
•have something interesting to 
say about the reason this particu- 
lar spot on the nose represents 
aggression. They declare that no 
baby is born with an arched nose. 
The breathing of an individual, be 
it forceful or weak, according to 
the basic character, develops or 
does not develop the arch in the 
nose by reason of the very force or 
lack of force with which the breath 
is expelled. This particular spot 
is hit by the volume of air as it 
enters and leaves the lungs through the nose. Inci- 
dentally, for this same reason, women with a retrousse 
nose are subject to pulmonary disorders. 

The retrousse is most impressionable, and is fre- 
quently much influenced by surroundings and compan- 
ions. Lovers of pleasure, it is hard for them to stand 
alone and fight the big fight if surrounded by undesir- 
able companions. It was the surrounding circumstances 
and friends of Barbara LaMarr and Mabel Normand 
that cut short two brilliant careers. 

The second bump represents a person's ability to 
retain mental integrity against all suggestion from out- 
side. It is named Protection. No actress with this 
bump, unless this trait is denied elsewhere in her fea- 
tures, can succeed, because she would be impervious to 
direction and could not lend herself to interpreting 
a role. She could not be pliable and adaptable in inter- 
preting a characterization foreign to her own char- 
acter. Pliability and adaptability, the power to project 
self into any character or role, is the gift of the 
retrousse, which lacks the bump of Protection. 

The gift of mimicry is closely allied with this spot on 
the nose, for the reasons 
above given. It is certainly a 
very important thing to an 
actress. 

Generosity, too, is signified 
by lack of this bump. Car- 
ried to extremes, it represents 
prodigality, as does the first. 
Certainly generosity is a trait 
of all actors. 

The third of our trio of 
bumps is named Self De- 
fense. Lacking in aggres- 
(Continued on page 126) 



The three nasal bumps shown in 
detail. The point of aggres- 
sion indicates business ability. 
Protection represents one's 
ability to retain mental integrity 
against outside influence. Self 
defense indicates ability to 
fight off aggression. 




36 



LAUGHS OF THE FILMS 




What do you consider the funniest talkie joke of the month? THE NEW MOVIE will pay $5 for the best 
written letter relating the best talkie joke. If two or more letters prove of equal merit, $5 will go to each 
writer. Address your jokes to Laughs of the Films, THE NEW MOVIE, 55 Fifth Avenue, New York City. 



37 



/ 




The Hemline Came Down 

and Sounded the Death 

Knell of the Who-Cares 

Flapper 

BY DOROTHY HERZOG 



HAS anybody here seen a flapper? 
I doubt it. There isn't a flap the length 
and breadth of Hollywood Boulevard. Nor 
is one left on the studio census roll. The 
original Clara Bows, Alice Whites, Colleen Moores, 
have set with the fashion sun of 1929. They are 
today's ash to yesterday's flame of youth. 

Even the choruses in musical comedy pictures 
no longer flap, and there were the ideal whoopers : 
petite, slight, totally unconscious of display as 
they strolled around the lots in "shorts" or thimble 
attire. But they no longer flap. They are serious- 
minded young girls. A flapper camouflaged 
her seriousness under a wild oat. 
Modistes claim to know the answer to the 
abrupt change in feminine temperaments. 
Nothing more or less than long skirts. 
Clothes, they contend, motivate personali- 
ties. In a skirt to her knees a girl flits 
and flaunts. In one below her knees, 
she does neither. That hemline quiets 
her. 

AS a matter of fact, a dreadful 
-thing has happened to Holly- 
wood. It has gone stylish and 
ultra. For years, the little cel- 
luloid center did what it pleased 
and was a romantic law unto it- 
self. The names of Barbara 
LaMarr, Bebe Daniels, Gloria 
Swanson and Mary Pickford in 
the old days symbolized the 
reality of freedom. Pictures were 
in their infancy. Coddling clothes 
and coddling habits could be care- 
less. The players banded into a 
magic circle. The outside world's 
imagination contributed the flow and 
' fascination. 

Along came Elinor Glyn. Her slightest 

interest in an actress or actor scared her 

or him into alluring print. She interpreted 

Hollywood in terms of love. She boiled this 

down to two words, sex appeal. Later, she 

coined the million-dollar slogan, "IT." Aileen 

Pringle, Jack Gilbert, Clara Bow and Corinne 

Griffith benefited. Mrs. Glyn wrote their names 

in celluloid gold by singling them out from the 

many. She really 



The flapper — with her un- 
ruly bob, her indifferent 
dress, her cynical wise- 
cracking, her rakish in- 
dependence — took the 
world by storm. The flap- 
per reigned — untila meeting 
of dress designers in Paris 
last Fall. 



started the modern 
girl racketeering. 

But it was Warner 
Fabian who gave the 
sex-appeal fad its 
final push into the 
spotlight. He did this 
with "Flaming 
Youth." To him, 
"Flaming Youth" 



38 



HOLLYWOOD'S 



Successor 



to 



IT 



DRAWINGS BY RAY VAN BUREN 



behaved as she pleased with a verve that withstood 
the shocked criticism of her horrified elders. 

Colleen Moore brought the story to the screen. She 
launched the flapper. 

Clara Bow picked up the cudgels, and Clara's elec- 
trical efforts took the youth of the world by storm. 
She came to represent the modern girl with her unruly 
bob, her indifferent dress, her cynical wise-cracking, 
her rakish independence. 

Because of her tremendous 
popularity, other flappers 
spread the glad message. Joan 
Crawford's name reached the 
lights. Alice White rose from 
the ranks in one lingerie. Like- 
wise, Sally O'Neil, Sue Carol, 
Laura La Plante. Ruth Taylor 
(the Lorelei of "Gentlemen 
Prefer Blondes") failed to 
make good because she didn't 
qualify as a flapper. Ruth — in 
front of the camera — embodied 
more the shrewdness of the 
gold-digger. A flapper never 
"gold-digged." It was 50-50 
with her. 

THE flapper reigned for an 
extraordinarily long time. 
Until last fall, in Paris, 10,000 
miles from Hollywood, a group 
of designers ordained the long 
skirt and fastidiousness in 
style. That sounded the death 
knell for the who-cares chil- 
dren. 

Naturally, Hollywood youth 
objected. But Hollywood had 
reached the thoughtful point 
already. The talkies brought 
stage players from Broadway 
by the trainload. One saw the 
Park Avenue sleekness of Ann 
Harding, Ina Claire, Constance 
Bennett, Grace Moore, Alice 
Gentle, Mrs. Maurice 
Chevalier, et al. Their 
well-groomed appear- 
ances at the Embassy, 
the Montmartre, the 
Roosevelt, the Brown 
Derby and the Am- 
bassador prompted 
(Continued on p. 108) 




Hollywood youth is becoming 
a merger of several types. 
Smartly gowned, mascara eyes 
and ruby lips, her demureness 
will be in quaint contrast with 
her appearance. Shewillbethe 
soft pedal" girl of tomorrow. 




40 



Th 



e 



Last Days 
of 

Valentino 



How the Peasant Boy from 
South Italy became the 
Caesar of a Fantastic Empire 
and died a King with a 
Broken Heart 



i 



BY HERBERT HOWE 

'M sick of everything," he said, "sick of marriage, 

sick of the ingratitude of friends, sick of business 

and Hollywood pretense. ... I want just to have 

a good time, to live a little." 

Lusty lover of life, he grasped its beakers in both 

hands and thirstily drank. It was as though the astrol- 

ogists had predicted his death three months hence. 

Actually he was seeking the intoxication of life in 
order to forget it. Perhaps we all are. 

He was like a man who, having drunk too much the 
night before, awakens with a head and drinks again in 
order to go on. 

If he had been wholly a sensualist he might have suc- 
ceeded, but Rudie was sentimental and idealistic far 
beyond the realization of those who count themselves 
idealists. True idealists are never conscious of idealism. 




TN those last days of 
■*■ reckless splendor the 
legend of Valentino 
soared to a crescendo 
that echoed Imperial 
Rome. The maze of for- 
tune through which the 
boy had stumbled was 

The public struggled so 
frantically to witness the 
last earthly ceremonies 
over the body of its idol 
that these cards of church 
admission were given to 
his friends. Without one 
of these, it was impossible 
to pass the police lines. 



§>nlpum Spquirm ii^igl) Maaa 

toill lip rdrbratpfc in tl;e 

(Eljurrlj of tljp (Boob i'ljpjihprb 

Spuprljj trills 

fur tlje rpjioflr of u> soul of 

JSuJlrilplj lalpntinn 

on ulupauau, morning, §>rptr mbrr arurnth. 

at trn o'rlork 



An unpublished picture of Rudolph Valentino in medieval 

armor. This portrait was given to his friend, Manuel 

Reachi, in Rudie's early Hollywood days of 1919. It was 

signed Rodolfo di Valentino. 

as fantastic, as monstrous and incredible as the mad 
purple scenes in which a dancer, a gladiator, a common 

soldier, one after an- 
other, was capriciously 
cast upon the throne of 
Rome to be denied, wor- 
shiped, then slain or 
driven to suicide. 

Rudie was the sym- 
bol of Southern Italy. 
He was the product of 
its sun and earth. When 
I think of him I think 
of Apulia, out of which 
he came. In Apulia 
everyone fears the Evil 
Eye. They make the 
sign of the horn with 
their fingers to protect 
themselves against it. 
In Apulia, if the facts 
were known, it would be 



41 



HERB HOWE tells how VALENTINO'S Last Mad Days 




This was one of Rudie's favorite pictures. It was made just after his marriage 
to Natacha Rambova and was taken at their Whitley Heights home. 



said that Rodolpho Guglielmi, son of the respected 
horse doctor of Castellenata, was victim of the Evil 
Eye. I shall not dispute them. 

He came a peasant boy out of Italy, out of the heel 
of Italy, where poverty is abject, counted in tattered lire. 
Yet the people have in their blood the sun that ripens 
the grape, and with its blood they salute one another, 
touching glasses when the sun dies and work is done. 

He came out of the poverty of Apulia into the wealth 
of Hollywood. His name was trumpeted through the 
world, i-everberating further than any Caesar's. It 
might be said of him as of the Emperor Hadrian, "The 
world rose to him as a woman greets a lover." 

Fortune prostrated herself before him, offering an 
estate, motor cars, a yacht, jewels, ivories, works of art 
and all the luxuries of an emperor. The whole world 
was his realm. No urchin ever dreamed such a fabulous 
dream as was given the peasant Rodolpho Guglielmi. 

VV^HEN he returned in 1925 to Europe, which he had 
" left an emigrant a few years previous, it was on 
a triumphal tour costing a hundred thousand dollars. 
In Paris he received grand dukes and princesses, artists 
and diplomats. The peasant of Italy, who once was pun- 
ished for running away from school in Perugia to see 
his king pass by, was himself a greater king, the whole 
world turning out to see him pass. 

And like a king he died in the abject poverty of spent 

42 



illusions and with a broken heart. 

"My life has been all up and 
down," he said to me one day in 
his New York apartment, adding 
fatalistically, "I expect to die in 
the gutter." 

The gutter he anticipated was 
poverty. Actually it was worse. 

Rodolpho, the genial, generous, 
simpatico peasant, son of a horse 
doctor, was cast for the brilliant 
role of irony in life. At the height 
of his fame, the world kissing his 
hand, he could not forget the three 
days he spent in the Tombs prison 
of New York on a false charge. 
Pathetically he showed me clip- 
pings from newspapers retracting 
the libel. The retraction was small 
compared to the headlines that 
had damned him. He told me how 
he had been framed when he was 
the dancing partner of Joan Saw- 
yer. I know he told me the truth. 

WHEN I talked with him in 
»» New York he and his wife, 
Natacha, were living on borrowed 
money, yet he was world famous. 
He had quarreled with the Para- 
mount Company. Only that day 
he had refused Adolph Zukor's 
offer of $750,000 a year to return 
to work because he felt, on Na- 
tacha's advice, that the company 
had no artistic capacity. He 
wanted to be an aristocrat of the 
arts. He would have liked even 
more to have been a patron of 
them, a Lorenzo the Magnificent. 
He dreamed as a boy of being a 
great medieval prince. That ex- 
plains his taking of the name "di 
Valentina" from the Borgias. 

Without the benefit of culture 
other than Italy offers its hum- 
blest, which is perhaps equal to 
what America gives its highest, he 
had a pathetic eagerness to under- 
stand and appreciate the arts. This passionate desire 
drew him to the superior mind of Natacha Rambova. 
An American girl, Winifred O'Shaughnessy, she had 
taken the Russian name to quicken her artistic recog- 
nition. Rudie adored her. He worshiped her as a god- 
dess. Valentino, the idol of millions of women, idolized 
one woman and she did not love him, or so he believed. 
If Rudie had answered the cablegram which Natacha, 
then his ex-wife, sent him in Paris on his last Christmas 
he might be alive today. Hope might have stemmed 
his headlong recklessness, but hope was impossible. 

He wanted to answer that cable. Discreetly worded, 
it offered an opening to reconciliation. Forgetting a 
banquet awaiting him, he sat down at the desk in the 
damask paneled room of his hotel and wrote a dozen 
replies, then one after another threw them in the open 
fire. His heart dictated, his pride prevented. Perhaps I 
should say his reason. His heart had dictated forgive- 
ness before, when he felt she did not love him. Prof- 
fered everything in the world save one thing he de- 
sired and that was denied him ! 

TN Hollywood, when Rudie and Natacha agreed after 
* many trials that divorce was the only solution, he 
accompanied her to the train and kissed her good-bye. 
From the station he went to the home of Manuel Reachi. 
Manuel was his first friend in Hollywood. Their friend- 
ship had ended when Manuel urged him to accept Mr. 



of Reckless Splendor Echoed Imperial ROME 



Zukor's offer in opposition to Na- 
tacha's counsel. When the servant 
announced that Mr. Valentino was 
downstairs, Manuel thought it some 
practical joke. 

"Who is there?" he called. 

"I, Rodolpho, Manuel." 

"What do you want?" 

"Natacha has gone." 

"Well, what has that to do with me?" 

"Well — I had no place to go, so I 
came to you, my friend." 

Manuel, Mexican, with the sensi- 
tiveness of the Latin, rushed down- 
stairs and embraced his friend. 

When I collaborated with Rudie on 
his life story he spoke of Manuel. 

"He was my first friend in Holly- 
wood," he said. "He loaned me money 
and gave me his Rolls-Royce for visit- 
ing studios looking for work. He was 
Mexican vice-consul in Los Angeles. 
When the Mexican government ordered 
a speed boat, Manuel allowed me to act 
as his agent. When the lowest bid had 
been determined I was able to get a 
commission of two hundred and fifty 
dollars for completing the transaction. 
It was a life saver for me." 

MANUEL told me of meeting Ru- 
die. It was in New York, when 
Valentino was simply Rodolpho, the 
dancing partner of Bonnie Glass. 
Manuel, commercial agent for the 
Mexican government, visited the cafe 
one evening and was impressed by the 
Spanish tango which Rudie did. He 
applauded and invited Rudie to the 
table for a drink. 

"The management does not permit 
me to sit with guests," said Rudie. 

Manuel arrogantly summoned the 
manager. The manager unctuously 
permitted the humble dancer to sit with 
the Mexican diplomat and his guests. 
Two years later Manuel was appointed 
vice-consul to Los Angeles. Entering 
the Alexandria Hotel, he saw one 
familiar face. It was that of Rodolpho, 
the dancer. "Hello," said Manuel, shaking hands with 
the boy. 

Rudie was living in a garret room. Two months' 
rent was due. The landlady decided to throw him out. 
Manuel said, "Come live with me. There is plenty of 
room in my house." 





In the days when Pola Negri was pre-eminent in Rudie's heart. This picture 

was taken at a costume ball of the Sixty Club at the Hotel Ambassador in 

Los Angeles. It shows Rudie, Manuel Reachi and Miss Negri. 



Two years later Rudie appeared in "The Four 
Horsemen of the Apocalypse" and excited adulation 
without comparison in our generation. 

The best indication of Valentino's nature was his 

undying appreciation of Manuel's friendship. When 

lonely, disillusioned and eager for "just a good little 

time," his thoughts turned to his first 

friend in Hollywood. He asked Manuel to 

accompany him to Europe. 

I met them in Paris. Manuel was ex- 
hausted in his effort to keep pace with 
Rudie and his whims. 

"The boy is mad," 
he said. "He thinks 
only of Natacha. 
For two days on the 
boat he talked of 
nothing but hei\ He 
goes on an endless 
round of parties 
which I'm sure he 
doesn't enjoy." 

Rudie slept only 
two hours a night 
during twenty-two 
days in Paris. As 
(Cont on page 128) 



Two weeks after he re- 
turned from Europe, 
Valentino narrowly 
escaped death when 
he almost ran into the 
path of a train. His 
car hit a post and 
swerved around, graz- 
ing the locomotive. 
Rudie jumped out and 
snapped this picture 
of the scene himself. 



43 




Hubert P. Vallee, otherwise Rudy Vallee. Rudy is a native Vermonter. 
His father is of French-Canadian extraction and his mother of English- 
Irish parentage. The Vallees moved to Westbrook, Maine, when Rudy 

was six years old. 



A LWAYS myriads of people have milled and swarmed 
/\ around the great gods of Fate and Luck, tossing 
J \ bright coins called careers into the laps of these 
strange controllers of destinies. Sometimes the 
gods have exchanged the coins for fame — that phantom 
many men seek but few capture. No matter how fleet- 
ing the life of this wraith, those who have beheld it are 
in the public's eye — sometimes as subjects of conjecture, 
other times of fascination, but always themes for dis- 
cussion. 

One who has captured the phantom of fame is 
Rudy Vallee. While others made their obei- 
sances to popular gods he chose a less 
known convey, the god of hard work 
and protector of one's own convic- 
tions. Strangely, Rudy's success is 
intangible — you cannot lay a fin- 
ger very definitely on the reason, 
although he gives supply to the 
demands of the public. 

TAILED away in a certain 
" newspaper office is an en- 
velope containing all the clip- 
pings on Vallee, Hubert P. 
(Rudy), Musician. To this 
might be added, dreamer, hard 
worker, author, motion picture 
actor, and matinee idol. Though 
you say there are thousands of 
envelopes that show the same 
specifications for thousands of oth 
er men, this story is only about Rudy. 
No one knows when this thing called 
fame will disappear, certainly there is 
no one living who can gauge its elusive qual- 

44 




How Rudy Vallee, the 
Idol of the Air, Went 
Out to Seek Success 
from the little town of 
Westbrook, Maine 



ity until the person who earned it has gone 
forever. But one can write about its attain- 
ment. 

Rudy Vallee roosts on the pinnacle today. 
He used to sweep peanut shells out of a the- 
ater in Westbrook, Maine. Now he's one of 
the highest paid radio stars in America. He 
used to lead a college band. Now he owns 
his own New York night club. 

A native Vermonter, born in Island Point, 
son of Mr. and Mrs. Charles A. Vallee, the 
father of French-Canadian extraction and 
the mother of English-Irish parentage, he 
was six years old when Mr. Vallee moved to 
Westbrook and opened a drug store. Rudy 
and his brother worked in the drug store but 
Rudy soon broke away and got a job project- 
ing motion pictures in the Star Theater. He 
used to sleep in box cars to escape the wrath 
of his father caused by playing the saxophone. 
Then, too, he rode a bicycle back and forth 
from Portland to save 15 cents carfare. Mrs. 
Vallee, a gentle-voiced woman, was torn be- 
tween fostering her son's ambition and loy- 
alty to her husband's desire for Rudy to be- 
come a druggist. Lean, discouraging years 
for the boy. He haunted the bigger play 
houses in Portland, absorbing back stage at- 
mosphere and listening to the musicians who 
were always stumbling over "that kid." But there are 
always compensations in life and Rudy found a solace 
in the mutual love he and his sister had for music. This 
mutual bond kept them close together. They had sim- 
ilar taste in music, both preferring the best in musical 
composition. 

'HPODAY, the sister, Mrs. Kathleen Vallee Lenneville, 
*■ of Westbrook, says of her brother, "he very kindly 
gives me credit for nurturing a love of the best in musi- 
cal appreciation in him. I rather think we both inher- 
ited it but I did try to keep at his music with 
him and now he seems to appreciate my 
effort although at the time, I, as his in- 
structor, can assuf-e you that I had 
no greater apparent success accom- 
lishing my task than any other 
young sister has trying to boss a 
situation with a brother. As a 
matter of fact I will not hesi- 
tate in saying that I consider 
my piano teaching efforts in 
Hubert's (she always refers 
to Rudy by his right name) 
behalf a decided failure, but 
it seems that we both got 
something out of it because 



Rudy's pet dog, Barney, espe- 
cially posed for New Movie. 
Barney resides with Rudy's par- 
ents at Westbrook, far from the 
great street of night clubs. 



HOME TOWN 

STORIES of the STARS 



By 
PERDITA HOUSTON 

of The Press Herald, 
Portland, Maine 

Vallee Home Town Photographs 
Especially Made for NEW MOVIE 

our real musical tastes are identical to this day. 

"As a little shaver," the sister continues, "at 
home Hubert was no different from any other lit- 
tle fellow. He could be very, very good and, while 
never very bad, had his off moments and a very 
decided will of his own." This strong will is ex- 
pressed in Rudy's achievements again and again 
— he has a determination of iron that nothing can 
melt or corrode. 

Being a sister of a celebrity sometimes means 
great anxieties, according to Mrs. Lenneville, who 
was greatly upset a short while ago when she 
heard over the radio that "Rudy Vallee was more 
safely guarded than the President of the United 
States owing to threatening letters demanding 
$100,000 or his life." 

"This has been an entirely unlooked for phase 
to his fame and one that is decidedly disquieting," 
the sister commented. 

TN her opinion, the old adage that a man is with- 
*■ out glory in his own country does not hold 
exactly true in Rudy's case. It has come to her 
ears again and again that Rudy Vallee has lost 
his head and is very high hat. This she strong- 
ly denies, saying that the boy is extremely busy 
and hasn't a minute for small talk but is loyal to 
and fond of every single person that he ever knew in 
Westbrook or elsewhere. 

"As a whole, his home town has been fine to him, so 
the adverse criticism does not bother him or us." Mrs. 
Lenneville told an inter- 
esting story of his latest 
visit home several 
months ago. His time 
was limited to one day's 
stay only and he arrived 
very early in the morn- 
ing. The first thing he 
said after exchanging 
affectionate greetings 
with his family was, "I 
want to have just one 
good nap in my own 
bed," and he did just 
that. His room at home 
is always ready for him, 

The Vallee home at West- 
brook, Maine. Mrs. Vallee, 
Rudy's mother, posed in 
front of the residence with 
Barney. Rudy's room is 
kept ready always, await- 
ing his home visits. 




The Vallee drug store at Westbrook, Maine. For years this 
was owned and managed by Charles A. Vallee, father of Rudy. 



exactly the same as when he lived there and he was over- 
joyed at the chance to sleep once more in his own bed. 
A younger brother, Bill Vallee, is a student at Ford- 
ham and will later enter Yale. Mr. and Mrs. Vallee 

spend most of their 
time in New York with 
Rudy and this leaves 
Mrs. Lenneville the 
only member of the 
family in Westbrook. 

Finally Rudy landed 
down in the little town 
of Orono, a freshman 
in Maine University. 
He carried his sax, 
tenderly, much to the 
disgust of the upper 
classmen who thought 
the freshie just learn- 
ing to play. As a class- 
mate said of Rudy at 
that time, he was shy, 
different and kept in 
the background. But, 
in spite of this, he was 
the showman of the 
college. He dreamed. 
He worked. His object 
(Cont'd on page 124) 

45 





The Chortle Comedy Studio was in a mad whirl of noise. The serious business of being funny was 
Stage B sheltered a couple of comedians setting fire to a sheriff's whiskers, while in the third enclosure 

A FOOL and His 

The Laughable Yarn of a Clown who Longed to be 
a Combination Hamlet and Romeo 



AS all the world knows, the boulevards of Los 
Angeles are positively swarming with glossy- 
automobiles which function perfectly under the 
guidance of carefree, incredibly handsome 
drivers. At least, it looks that way in the tourist 
folders, so that an optimistic Chamber of Commerce 
would have had good reason to feel irritated at the 
sight of a large and flabby gentleman abusing a de- 
crepit old bus on the fringes of Elysian Park. 

Groaning loudly, this traitor was tearing off the 
fenders, after which he lifted the radiator cap just in 
time to have a rattlesnake wriggle forth, a sight which 
caused him to sit down heavily upon a passing piglet. 
Then, egged on by the cries of a pretty redhead in 
the front seat, he rushed around to peer into the 
exhaust, receiving a spray of soot that sent him into 
a fit of the juvenile jumps, ending in a vicious kick 
at where the car's kidneys ought to be. This treat- 
ment miraculously started the motor, so the fat man 
grinned idiotically, hopped in beside the girl, and 
prepared for a pleasant ride. 

"Gangway!" he shouted happily, and, as though to 
mock him, down came a torrent of rain that filled the 
car to overflowing in less than a minute. Then, clasp- 
ing the redhead, he sank with a despairing screech 
beneath the surface, leaving a pathetic string of bub- 
bles as farewell to a world that had done him dirt. 

'"PHEY reappeared a second later, and the flabby man 
A cocked a fishy gray eye at one of the onlookers. 
"How was it?" he gasped anxiously. 

"A knockout," said the director, waving aside the 
microphone fishing pole and the overhead rain ma- 
chine. "When this sequence gets on the screen it'll 

46 



send 'em home in hysterics. No kidding, Jelly Roll, 
that big moonface of yours certainly can look 
dumb." 

Mr. Osbert (Jelly Roll) Wick considered this as he 
scrubbed his countenance with a towel. "And I'm be- 
ginning to think it isn't skin deep," he admitted. 
"Whew! Four times this afternoon before you're sat- 
isfied. A fat lot you care, all dressed up like a haber- 
dasher's delight, but it's pretty rough on Marjorie 
and me." 

"Oh, I don't mind," said the flaming-haired Miss 
Berry, twinkling her laughing blue eyes. "It's rather 
fun, I think, and everyone who has a car will appre- 
ciate the picture. You can't make comedies and be 
dignified at the same time, so snap out of it, Jelly 
Roll." 

"That's just it," sighed the flabby man. "What am 
I, after all? A clown. A piece of driftwood on the 
river of life, wasting myself on cheap two-reelers 
when I should — " He broke off as the peppery little 
director advanced threateningly. 

"So you've been reading books!" snarled the mega- 
phone wielder. "Going artistic on me, eh? Two thou- 
sand a week is hard to take, I s'pose, for making the 
nation forget its troubles. Say, listen, nobody can 
pull that tear-behind-the-smile stuff around me. Why, 
if you didn't have that silly-looking pan you'd be a 
deckhand on a submarine or something. Get some 
dry clothes on, both of you, and don't forget those res- 
taurant retakes first thing in the morning." 

V/fR. WICK shambled away to change in a nearby 
*■**■ tent, and later, driving Miss Berry back to Holly- 
wood in his glittering roadster, he resumed his fishing 




going on at top speed. On stage A a newlywed was feeding roach powder to his mother-in-law. 
Wick, in a misfit dress suit, was being industriously decorated with a mass of slithery spaghetti. 



HONEY 

for sympathy, against which she was prepared. 

"What I've got in here," he croaked, thumping his 
chest, "is ambition. Look at Chaplin and Lloyd — 
they're making six-reel features, so why can't I? And, 
furthermore, my dream is to graduate from slapstick 
and do drawing-room comedy, the deft kind that the 
critics rave over." 

Marjorie studied him anxiously. "You're crazy," she 
said sharply. "Chaplin and Lloyd have the audience 
pulling for them, out the fans laugh at you. And the 
idea of you being deft! Heavens, Jelly, you may have 
no more sex appeal than a roomful of authors, but 
you'll be a star long after the collar ad boys have 
folded up." 

"But I'm in a rut and " 

"If you are, it's a comfortable one. Is it really so 
bad to be famous and to have me caring for you, even 
though you disappointed me by not proposing last 
week?" 

Mr. Wick groaned tragically and tried out a Shake- 
spearean gesture. "I was going to," he said earnestly, 
"but then I got to thinking I'd wait until I was more 
important. I want you to be somebody in the social 
racket, and you know darned well that two-reel 
people are just another bucket of sand at Ocean 
Park." 

The girl was silent, fully aware that her companion 
was correct. One of Hollywood's favorite sports con- 
sisted of tossing the gay and festive snub at the layer 
just below, and she knew that Jelly Roll, even though 
his pictures had saved many a feeble program, would 
not be able to breathe the same air as the fashionable 
stars without getting pneumonia. 

"I don't care anything about the society end of it," 
she said at length. "I'd rather eat at my own house 
than spend my life in other people's homes. Ask me 
now, Jelly." 

"I can't," said the comedian. "I'm too disheart- 
ened. Did you hear Joe tell us about the cafe retakes 



By STEWART ROBERTSON 

Illustrated by Russell Patterson 



tomorrow? Well, the news crumpled me up like a 
paper towel, because that's where I get socked with 
the bowl of spaghetti. It's tragic, I'm telling you, for 
a guy with the soul of Hamlet to be playing the jester. 
It's — cockeyed censors!" 

"Come out of your trance!" screamed Miss Berry, 
jabbing him in the ribs. "Didn't you see the red light, 
you idiot — oh, now we're going to get a ticket, and I'm 
starving. I can just see the judge taking Hamlet as 
an alibi." 

A MEATY-FACED policeman was coming toward them 
^*- on the run. "Guys like you should be roostin' on 
a load of hay instead of a car!" he bellowed. "Gowan, 
tell me the one about your wife is havin' triplets, you 
big — " Then, as he drew nearer his expression changed 
to that of a child staring at his first rhinoceros. 
"G— gee," he stammered, "if it ain't Jelly Roll Wick, 
himself. Say, Mr. Wick, I guess probably you was 
gazin' in that lady's eyes instead of watchin' me, and 
what I says is who wouldn't?" 

"Do I know you?" asked the comedian frigidly. 

"Naw, but I know you. I could recognize that 
punkin face of yours a mile off. Say, Mr. Wick, just 
send me an autographed pitcher an' we'll call it square, 
see? Here's my address. I think you're swell, an' so 
does me wife, an' kids, an' when you fell offa roof 
into a barrel o' tar in that last fillum, I pretty near 
passed out. Happy days, Mr. Wick, you sure got a 
mush that would make even a landlord laugh." 

The crimson Jelly Roll muttered a mingled thanks 
and curse, and rolled away, while the policeman stood 
looking after him. 

"He didn't seem any too pleased," he said perplexedly. 
"Still maybe he's bashful, like most of the great. This 
is somethin' to brag about, me chinnin' with old Jelly 
Roll. Haw, haw — he's a good old stiff, but if it had 
been one of them shellacked sheiks I'd of give him 
the works." 

47 



What Happened When a Fat $2,000-a-Week 



I^LEVEN o'clock the next morning found the Chortle 
J ~' Comedies Studio in a mad whirl of noise. The 
serious business of being funny was going at top speed 
with three sound stages recording views of minor 
crimes that always culminated in assault and battery. 
On Stage A a newlywed was feeding roach powder to 
his mother-in-law. Stage B sheltered a couple of 
comedians setting fire to a sheriff's whiskers, while in 
the third enclosure Mr. Wick, in a misfit dress suit, 
was being industriously decorated with a mass of slith- 
ery spaghetti. 

Finally, after three tries, the director signaled his 
approval and the exhausted Jelly Roll sank weakly into 
a chair and registered martyrdom. 

"I'm through!" he wheezed. "When my contract runs 
out next month you can find some other lunatic. Socked 
with spaghetti — is that art? Is that creative? Is " 

"Aw, relax your larynx," rasped the director. "And 
lay off the sob stuff, you hear me? If I could get my 
hooks on the sap who started the Laugh Clown Laugh 
gag, I'd separate his voice from 
his body." 

"But I'm serious. Look here, 
Joe, before I crashed the movies 
I hung around the parks so 
much I was beginning to think 
my name was Benchley, and be- 
lieve me, I'd rather go back to 
that than grow gray getting 
smeared with pies." 

"You've got to do better, if 
you expect me to break down," 
sneered Joe. "Just for being up- 
stage, I'll have a sequence in 
your next picture where — ah, 
good morning, Mr. Squibb, hap- 
py to see you, Mr. Squibb. Quick, 
somebody give Mr. Squibb a 
chair!" 

The cause of this startling po- 
liteness was a sawed-off little 
man with the features of a gar- 
goyle, but who carried himself 
with the assurance of a Turk 
owning a hundred wives. Mr. 

Eppus Squibb, seventh vice-president of Fascination 
Films, the huge producing concern that controlled 
Chortle Comedies, was aware of his importance, and 
now he leered triumphantly upon the lowly two-reelers. 

"Comedy," squawked Mr. Squibb, "is the oats in the 
manger of life. Am I a liar?" 

No answer. Everyone stiffened expectantly, and Mr. 
Squibb prepared to throw the art of speech for a loss. 

"FASCINATION has bought the rights to 'The Pi- 

" rate's Princess,' " he declared oilily. "It's one of them 
costume dramaticals where the hero is pretty loose with 
his tenor. Swords, songs and saving the gal — the old 
stuff that always gets 'em, but it needs contrast. Ham 
needs eggs, Minneapolis needs Saint Paul, and when a 
story is dripping with romance and tears, a few belly 
laughs wouldn't do it no harm. Could I be wrong?" 

Jelly Roll began to tremble and he listened to the 
voice of opportunity without knowing that Marjorie 
was close beside him. 

"So I says to myself," proceeded the little man, "we'll 
write in a part for Jelly Roll Wick, and so I gave the 
job to our memory man, who's got all the good stuff 
from every hit since 1920 right at his fingertips. And 
so, Joe, I'm here to take him off your set. He'll move 
in swell company — Adrienne Effingham and Boylston 
Tremont, from the original Broadway cast, are going to 
warble the leads. It's all in color, too, which will give 
him a chance to wear a red nose." 

"But listen," said Mr. Wick hopefully, "if I'm to play 
opposite those gaspers I'll have to be kind of refined, 
won't I?" 

48 



The moon-faced comedian, Jelly 
Roll, was borrowed from his com- 
edy studio to lend laughs to a ro- 
mantic singing film. His duty was 
to provide the comic relief from 
uniforms, love and yo-ho-ho chor- 
uses. 

Then Jelly Roll, who had no more 
sex appeal than a roomful of au- 
thors, met the Toast of Times 
Square, imported to exercise her 
lureful soprano in the film. 

Read what happened. This is the 
funniest story of the year. 



Mr. Squibb interpreted a knowing wink from the hov- 
ering Joe. "Well," he said cagily, "it all depends. I 
want you to be a relief for too much slush, because, be- 
tween you 'n me, this Tremont feller may be a panic 
with the dames, but you can't depend on these tenors 
for everything. Most of 'em have been On the Road to 
Mandalay so long that they've got fallen arches. That's 
why you're going to have a swell song called 'My Brother 
is a Private Still, for He's a Private Still.' " 

Jelly Roll's pop eyes took on the glaze peculiar to 
poets and punch-drunk pugilists. "Gosh," he mum- 
bled, "I guess this must be what they call Fate. Here 
I was getting ready to leave the picture game on its 
back, and look what's dished up to me." Then he re- 
sponded loyally to the pressure against his arm. "And 
can you make a place for Marjorie?" 

"Sorry," said Mr. Squibb. "Everything else is com- 
pletely set. Say, you two are engaged, or something, 
ain't you? Well, girlie, you don't need to worry about 
losing this man mountain when he gets up among them 
high-priced hyenas." 

"That's what you say," pouted 
Miss Berry. 

"Who'd want him?" inquired 
Mr. Squibb rudely. "Of course, 
I ain't saying he lacks good 
points — love's got eyes like a 
hungry eagle, they tell me — but 
the general impression around 
headquarters is that Jelly 
Roll's got no chimes in his 
steeple." 

The unfortunate Mr. Wick 
fidgeted miserably, not daring to 
cross the seventh vice-president, 
so he guffawed amiably and 
tried to change the subject. 

"I suppose that foreign di- 
rector is going to handle things," 
he ventured. "You know, that 
Cin— Cina— uh." 

"Cinabinarino? No, he's out. 
I fired him because he was too 
lavish." 

"Oh, yeah?" piped Jelly Roll. 

"That's funny, I thought all the time he was a Cuban." 

Mr. Squibb smacked himself on the forehead and 

staggered back. "See?" he yelled to the indignant 

Marjorie. "What did I tell you?" 

* * * * * * 

HpHE advent of Jelly Roll Wick onto the Fascination 
*■ lot, important as it was to him, caused no particu- 
lar stampede. The screen players of established fame 
in the pre-talkie days greeted him with the patroniz- 
ing familiarity of royalty hobnobbing with the peas- 
ants. The director was cordial, and Mr. Boylston Tre- 
mont, lonesome for his dear old Broadway, grew 
friendly enough as he realized that Jelly Roll offered 
no competition to his charms. And then, humming an 
aria, he led the comedian to his doom. 

Scrunched in a quiet corner was a vivid female who 
lurked amid the dingy surroundings like a tigress in 
the jungle. Olive-skinned, hair like black satin, and 
with a sultry pair of yellowish eyes. Miss Adrienne 
Effingham proceeded to exert the lure that made gulli- 
ble New Yorkers pay $6 for a chance to breathe the 
same air. 

"Charmed," she fluted musically, and then waited, it 
seemed a trifle anxiously. 

Mr. Wick goggled at her, fascinated. Accustomed 
as he was to seeing beautiful women, they seldom failed 
to regard him as anything but a banana peel on the 
doorstep of progress, whereas this vision was smiling 
a dazzling welcome. He advanced, trembling with 
anticipation. 

"Me, too," he said fervently. "Gosh, Miss Effing- 
ham, you're even more gorgeous than I expected ! This 



Comic Took the Laugh-Clown-Laugh Gag Seriously 



is a proud day for me, to be 
working with the Toast of 
Times Square. Swell weather 
we're — uh — say, you're a 
honey!" 

A wave of relief swept across 
the lady's oval face, quickly 
followed by a flash from the 
tawny searchlights. "You're 
the nicest man," she cooed. 
"Please sit down and tell me 
about yourself. You know, 
you're really my favorite 
actor; many a time I've for- 
gotten my troubles by watch- 
ing you tumble down a 
flight of stairs." 

Mr. Wick's artistic soul 
writhed, at the praise. "I've 
left all that behind, I hope," 
he said grandly. # "What I'm 
pointing for is deft comedy; 
that sly humor with class all 
over it, like George Arliss in 
'Disraeli.' " 

"Just like all the comics," 
tinkled Miss Effingham, turn- 
ing a desire to laugh into a 
fit of coughing. "They al- 
ways think they could do a 
better job with King Lear, 
but it's easy to see that 
you're superior to the com- 
mon herd. Genius always 
feels thwarted, doesn't it, Mr. 
Wick? Look at me. I've 
come out here to sing my 
first picture, and the movie 
crowd have been simply hor- 
rid. You're the only one 
who's behaved like a gentle- 
man." 

"Under your hat," said Jel- 
ly Roll, peering carefully 
around. "They're jealous of 
you, that's all, because the old 
silent gang is afraid they'll 
get knocked off their pedes- 
tals by you warblers. That's 
why they ritz you, and they 
give me the mackerel eye as 
well." 

"Don't you mind," said the 
glamorous Adrienne. "Why, 
we are both in the same boat. 
You don't object to that, do 
you?" 




TV/TISS EFFINGHAM un- 
-*-*•*• coiled herself, joined Mr. 
Tremont, and went into action 
with a few sample cadenzas 
that caused the old Hollywood 
settlers to curse in anguish. 
The prima donna's flood of 

golden melody was equaled only by the nonchalance of 
her acting, and the only apparent fault was that she 
seemed entirely too sophisticated to be the timorous 
princess called for in the script. Here, plainly, was 
another of the increasingly frequent cases where 
Broadway's verbal artillery put down a creeping bar- 
rage on the faltering screen players. 

The morning passed with several trial scenes that 
drew chuckles from the director, and at noon Adrienne, 
her eyes laden with enticement, inquired if dear Mr. 
Wick would take her to lunch. Mr. Wick would — and 
did. At the end of the day he motored her back to 



In the corner was a vivid female who lurked among the dingy surroundings 
like a tigress in the jungle. Miss Adrienne Effingham proceeded to exert the 
lure that made gullible New Yorkers pay $6.00 for a chance to breathe the same 
air. Mr. Wick goggled at her, fascinated. "Gosh, Miss Effingham, you're more 
gorgeous than I expected," he declared fervently. 



the gilt-edged Musclebound Arms, that haven of the 
sacred who refuse to have their telephone numbers in 
the directory, and although he had intended to bid her 
a Prisoner of Zenda farewell and return to the wait- 
ing Marjorie, he was dimly surprised to find himself 
cantering about the Cocoanut Grove with La Effing- 
ham in his arms. 

As the evening went, so went the ensuing week. A 
premiere blazoned forth with its Coney Island antics, 
and Jelly Roily could be seen escorting the aloof Adri- 
enne, whose nose was acquiring a pronounced tilt. 
They appeared as a team at (Continued on page 110) 

49 



The Unknown 

CHARLIE CHAPLIN 



CHAPLIN'S moods are 
as variable as April 
in Alabama. He has 
always reminded me 
of a powerful eight-cylin- 
dered engine — with most of 
the cylinders missing. 

There is in him, however, 
a deep strain of compassion 
and understanding. He has 
no antagonisms toward any 
race or creed. Once, when 
speaking of Negroes and 
their humor, he said to me : 
"I never laugh at their hu- 
mor. They have suffered 
too much, it seems to me, 
ever to be funny." 

The words struck me for- 
cibly. I watched his expres- 
sion closely. His eyes were 
narrowed in the same man- 
ner as when he had gazed at 
a beautiful sunset without 
admiration. 

"Every race has suffered," 
I said, after a pause, "and 
some had sensibilities 
greater than Negroes." 

His mind evidently on 
other things, he made no comment, seemed not to hear. 

Few men in any walk of life would have made such 
a remark — and fewer actors. 

CHAPLIN has the gift of ready wit. 
Madame Elinor Glyn, upon meeting him, was said 
to have remarked : "You don't look nearly as funny as I 
thought you would." 

"Neither do you," was the comedian's reply. 

One story pleased Chaplin greatly, and he told it 
often, with variations. It concerned his accidental meet- 
ing with a girl who was not aware of his identity. 
His friends always listened patiently, as they were will- 
ing to allow him all the vestiges of romance possible. 
His usual version was about as follows: 

"I met a pretty little girl down on Broadway one 
day. She worked at a soda fountain and I had an ice- 
cream soda. I had no necktie on and my shirt was open 
at the throat and I hadn't shaved in three days. I was 
terribly low and I didn't know what to do with myself, 
so I just strolled into the place. Just as I was finishing 
my soda the girl was going off duty. She'd smiled at 
me before, so I said, jokingly, 'Can I walk down the 
street with you?' And she came right back with 
'Surely.' 

"\\/"E walked out of the store together. Finally the 

v * girl asked, 'Where do you work?' 

" 'Over at Robinson's in the shoe department. I'm 
on my vacation now,' I told her. 

" 'Gee, you got a good job, ain't you?' She looked at 
me admiringly when she said it. 

" 'You bet I have. I'm getting thirty a week the 
first of October. I came out here from the East and 
fell right into it a year ago.' 

" 'Gosh, you was lucky,' said the girl. 'My brother 

50 




Jim Tully, here done in caricature by Joe Grant, 

continues his study of Charlie Chaplin this month. 

Next month he will tell NEW MOVIE readers of 

further adventures in interviewing. 



didn't get work for four 
months after we come here. 
Work's hard to get here, 
when you don't know no one.' 

" 'I'll say it is,' I told her. 

"We looked at some hats 
in a window. 

" 'That's a peach,' I said, 
'for six dollars.' 

" 'Gee, it's a dandy, but 
they ain't no hat in the 
world worth that much — not 
when you jerk soda for a liv- 
ing. I make all my own 
hats.' 

"'That so?' I said. 'The 
hat you got on now looks 
nice. Did you make it?' 

" 'I sure did.' 

"T'VE never seen a prettier 
* girl than that little girl. 
She had beautiful auburn 
hair. It glinted in the sun 
under her hat. She had a 
little doll mouth and great 
big blue eyes that always 
seemed to be asking ques- 
tions. We went over in 
Pershing Square and sat 
down and I kept my cap low over my eyes so no one 
would notice me, and the little kid talked on, just like 
she was hungry to tell someone her troubles. 
" 'You like it in California ?' I asked her. 
" 'Yes. We had so much trouble back in Iowa I 
was glad to get away. Father owned a big farm there, 
and then everything happened at once.' She shud- 
dered, and I didn't press the matter, but changed the 
subject. 

" 'I'd like to see you some evening,' I suggested. 
'I think we'd get along fine.' 

"She said, 'Yes, I'd like you — as long as you was 
kind to me.' 

"She looked so sad when she said it that I turned 
away from her, afraid that the tears might come. 

" 'I may have to go back to Iowa any day now. 
My father — they put him away — he got sunstruck one 
time and never quite got over it.' 

" 'Gee, that's too bad. I understand — really I do.' 
She looked at me, a hundred questions in her eyes. 

"I made up my mind right then to be her 
friend. 

" 'Let's go and have something to eat,' I suggested. 
She was willing, and we walked along Fifth Street. 
When we came to Boos Brothers' Cafeteria, near Broad- 
way, she kind of sidled toward it. 

"T TOLD her I didn't want to go there and that I 
■*- knew a better place. 

"She said, 'Where?' and I said, 'The Alexandria.' 

"She gasped right out and said, 'Gee, no — it's too 
swell. It'll cost you a week's wages for a meal there.' 

"I told her I wanted to celebrate and that one of 
the waiters roomed where I did and that it would be 
all right. 

" 'But you ain't got no tie on,' she told me. 



The Complex and Many- 
Sided Genius of Laughter 
is Vividly Described in his 
First Real Analysis 



BY JIM TULLY 



"I told her that we'd sit over in the corner. Finally 
she went in with me. 

"We had the finest time. She soon forgot herself 
and began to talk to me some more about her life on 
the farm and her driving a Ford to high school every 
morning. That her brother could call hogs so that 
they could hear him two miles off. 

"Then I told her how one time I nearly bought a 
hog ranch in Texas and settled down to raise hogs. I 
intended to do that one time just before I went into 
pictures, and I came darn near letting the cat out of 
the bag, forgetting that I was just a shoe clerk to 
her. When she said, 'It takes money to buy hog 
ranches — even in Texas,' I came down to earth. 

"We sat there a long time and kept getting chum- 
mier and chummier till finally Norma Talmadge came 
in. She came running up to me, saying, 'Hello, Char- 
lie Chaplin,' and the game was up. The little girl 
looked startled and tried to stammer something when 
I introduced Norma to her. She excused herself for 
a minute" — Charlie would pause for a moment, and 
then continue wistfully, "and she never came back. 
She never returned to work at the same place, and I 
never could find any trace of her. And that was that." 

CHAPLIN was not always so considerate of romantic 
young ladies. I was with him once at the beach 
in Santa Monica. It seemed that nothing would hap- 
pen to break the monotony of our companionship. At 
last a diversion occurred. 

A woman asked me if the gentleman with me was 
not the great Mr. Chaplin. I frankly admitted his iden- 
tity. She had once traveled to Hawaii on board the 
same ship with him and she knew him by sight. 

An extraordinarily beauti- 
ful young girl of sixteen was 
with her. Introductions over, 
we chatted on the beach 
until dinner time. Chaplin 
invited them to dine with us. 

The girl, who had grad- 
uated from high school at 
fifteen, was attending an ex- 
clusive finishing school at 
the time. She proved to be 
more than the comedian's 
match in clever repartee. He 
was much taken with her. 

At this time I was secretly 
hoping that somethingwould 
occur to end his too-serious 
affair with Lita Grey. I 
watched the proceedings with 
entire satisfaction. 

Chaplin asked the young 
lady to meet him at the Am- 
bassador the next day and to 
call at the studio the day 
following that. 

After dinner I talked with 
the elder lady in order to 
allow the seekers after ro- 
mance more time together. 

While riding to Los An- 




SAYS JIM TULLY 

CHAPLIN— 

" — never makes comment on those 
who have wrongfully used him. 
Neither does he speak of a kindness 
which he has done to another human 
being.'" 

"— is fond of animals/' 
" — has very keen perceptions but, by 
inclination an actor, he has not always 
a proper sense of values." 
" — is a facile conversationalist." 
" — is bound up with pity of his own 
early suffering but his sympathies are 
seldom anything but abstract." 
" — is not by nature a generous man, 
because of hurts suffered during boy- 
hood." 



Charlie Chaplin has been stamped by his early suffering. 

The hurts and fears of a sensitive boyhood mark his moods. 

Perhaps from them come his ability to shade laughter 

with tears. 

geles that night, I expatiated upon the girl's charm, 
her beauty, her clever mind. Chaplin seemed much im- 
pressed. He leaned back in the limousine with an ex- 
pression of pained wonder on his face. He became 
cheerful. He agreed with me volubly and I was pleased. 
I felt that any change would be for the better so far as 
he was concerned. I needed no great gift of prophecy 
to predict that it required a more understanding woman 

than Lita Grey to keep 
calm the marital waters of 
such a man. 



BUT, while he talked, a se- 
cret misgiving came. I 
thought of the women he 
had known and admired. 
Negri, with some intelli- 
gence, was flagrantly theat- 
rical, as her publicity ride 
across the nation to greet 
the body of Chaplin's suc- 
cessor, Rudolph Valentino, 
was to prove. 

There was some quality in 
Chaplin which seemed to 
make him fear, or at least 
avoid, women of high intelli- 
gence. 

I wondered about these 
matters, until the limousine 
stopped, and the greatest 
jester in Hollywood went on 
to his mansion alone. 

He did not keep his en- 
gagement with the young 
girl the next day. 

The following day she 
{Continued on page 114) 

51 



w 






VISITS 

to the 

FAMOUS 
STUDIOS 



m- 



A SHORT sixteen years ago — bare fields 
which did not have even the dignity of a 
crop of weeds. A sandy waste. 

Today — the Metro-Goldwyn-Mayer 
studios. Valued at $25,000,000. 

In 1914 a real estate man sat in his office. 
He owned hundreds of acres of land on 
the outskirts of Los Angeles and was con- 
fronted with the problem of selling them. As 
it lay, that tract of land was far from pleas- 
ing to the eye. Which but increased the problem 
of selling it. 

Something had to be done to draw attention 
to the location, to give it a glamour which would 
entice homeseekers. The real estate man gave 
up his thinking for the day. He was getting a 
headache. He decided to forget those acres for 
the afternoon. He would go to a movie. Half 
way out the door he stopped. 

Movie! Motion pictures. (Continued on page 54) 






Top left, the mammoth gates of Metro-Goldwyn- 
Mayer, looking from the inside out. The gates 
are gigantic, so that anything from a big talkie 
truck to a procession of elephants can move 
through easily. Above, the exterior of the modern 
theater stage, where revues are staged just as they 
would be in a Broadway playhouse. At the left, 
the guiding spirits of M. G. M.: Louis B. Mayer, 
vice president in charge of production, and Irving 
G. Thalberg, executive associate producer, . 



52 



j 



A Personally Conducted 
Tour of the Metro- 
Goldwyn-Mayer 
Studios 



Below, an airplane view of the Metro- 
Goldwyn-Mayer studios at Culver 
City. If you look closely you will see 
the sham fronts of make-believe cities. 




Below, a perspective of the south- 
east corner of the Metro-Goldwyn- 
Mayer lot, showing the various build- 
ings in detail. 



DRESSING- Roon 
Bow" 
OPEN- AiR STAGE. 
SOUND STA&E 
9H0P6 AND 
<?PVfK TRACKS- 
COSTUMC SHOP 



"Theatre 

STA6F 



90UNP 
9TAG6TS 



Airplane 

<ySNAL- 
4 



Becorpimg 
BLG. 



Wardrobe 

HALU<> ANP 
MO$K P6PT- 




53 



The Metro-Goldwyn-Mayer Studio Lot, a Modern 




A studio. Publicity. Workmen who would need land 
for homes. 

Thomas Ince, then a big mogul in motion pictures, 
was called. 

"I'll give you," said the realtor, "a flock of acres if 
you will build a studio upon them and shoot motion 
pictures in Culver City." 

"Where?" 

"Culver City," replied the real estate man. "You 
may not know it, but around this studio you will build 
is going to grow a prosperous community. It will be 
called Culver City." 

"I'll do it," said Ince. 

SO out to the sanded wastes went Tom Ince. He built 
: one rickety stage which passed for a studio and 
began making Western pictures. 

Two years later a man who has since become rather 
well known in motion picture circles decided that Cali- 
fornia was a better place to make pictures than was 
New York. 

Tom Ince's once rickety stage had grown to be three 
large glassed-in affairs. (Remember this was in the 
days when sunlight was depended upon for lighting.) 
Samuel Goldwyn, coming West, bought the works. 
Stages, land and all that went with them. 



Top left, the gate guardian, Dan Owens, checks in Lillian 
Roth. Second from top, Dorothy Jordan and Lila Lee swap 
gossip. Third, our own Jim Tully buys a newspaper out- 
side the commissary door. Lower left, Lon Chaney and 
ittle Harry Earles between scenes of "The Unholy Three." 
Below, the big directory board, showing the exact location 
of the various units. Karl Dane and Gwen Lee are the 
demonstrators. 



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54 



City of the Thousand-and-One Arabian Nights 



The romance of motion pictures and the studio which 
is now called Metro-Goldwyn-Mayer were under way. 
Both were making history, but those who participated 
in the struggles of those old days hardly realized the 
fact. 

UNDER the Goldwyn regime at that studio Will 
Rogers first came to pictures. Also came Pauline 
Frederick, who was the most beautiful of her day; 
Helen Chadwick, Naomi Childers, Sydney Ainsworth, 
Madge Kennedy, Mabel Normand, Jack Pickford, Tom 
Moore and the great Geraldine Farrar, at that time 
the "Carmen" of them all. These and many more 
laughed and cried their way in and out of that old 
studio. Many of them are but faint memories today. 

Rupert Hughes, Rex Beach, Gouverneur Morris, Ger- 
trude Atherton — writing names which today are as 
big as any in their game — all saw service at that old 
Goldwyn studio. It was a training ground for the 
great. 

In 1924 Metro and Louis B. Mayer joined hands with 
Sam Goldwyn and the Metro-Goldwyn-Mayer organi- 
zation and studio developed. It has grown like a 
fairy city. 

The pictures on these pages show you the studio as 
it is today. There are twenty- {Continued on page 106) 



Top right, exterior of John Gilbert's private studio bunga- 
low. Second from top, Hal Roach, the comedy director, 
tries to confer with a Spanish senorita. Third, John Mack 
Brown, wearing a Billy-the-Kid haircut, reads his fan mail. 
Lower right, an extra talks to Sammy Lee, the studio dance 
director. Below, Karl Dane and John Mack Brown outside 
the studio barber shop. The modern movie studio is a 
miniature city. 




55 



Th 



e 



HOLLYWOOD 



BOULEVARDIER 



Drawings by 
Ken Chamberlain 



By HERB HOWE 



The Paramount Hacienda: One by one the studios 
are drifting away from Hollywood, crowded out of ex- 
pensive locations by the town they started. Several 
have moved into San Fernando valley, others have found 
hospice in Westwood and Culver City. Paramount, a 
pioneer, still remains, but she has moved from her 
original location on Vine to the old Brunton studio lot 
on Melrose. When Jesse Lasky saw that the old home- 
stead was being stalked by skyscrapers he couldn't bear 
to abandon the barn in which the first of his Hollywood 
movies was born. So he picked it up and trundled it 
over to the new location. There it is pensioned off as 
a sort of museum. Every year a ball and banquet are 
held beneath its mothering rafters. Cecil De Mille 



j,Liitlliu6 ! 



«» i 



1 






n 




helps to officiate on such occasions. It was Cecil's 
wizardry that converted the lowly manger into a bath- 
tub out of which so many stars sprang in personal 
glory. 

Rudie Still Gets Fan Mail — Rambling in reverie about 
the lot with Paul Snell, publicity don, I came onto the 
dressing bungalow of Rudie Valentino. Paul explained 
it is now utilized by secretaries handling the stars' fan 
mail. Many letters addressed to Rudie are received each 
week. When I asked from whence they came a world- 
weary blonde replied, "Oh from up in Maine and down 
in Tennessee." 

Evidently our vaunted means of communication are 
not so hot. Anyhow I think it's nice that Rudie still 
gets letters. 

Rudie Within Call — Rudie rests within call of the 
studio where he triumphed. Forty feet from the wall 
dividing the Paramount lot from the Hollywood ceme- 
tery, the earthiness of Rudie lies in the mausoleum of 
June Mathis, his discoverer, who likewise is buried 
there. Fate at last seems to have relented its irony 
and been strangely considerate. June loved Rudie, and 
1 Rudie always wanted you to know that June was the 
person responsible for leading him to earthly glory. 

The Mary Pickford School — I think it appro- 
priate that Mary Pickf ord's bungalow on the 
Paramount lot should be used as a school for 
*■, children. Law requires that children em- 

ployed in pictures be given regular school 
instruction. Paramount keeps an instruc- 
tor regularly on the payroll. She holds 
her classes in Mary's bungalow. Much 
of the time she has no pupils. Then 
again she has to call for special as- 
sistants from outside. With that 
uncannily wise child, Mitzi 
Green, on the lot I'm wonder- 
ing if Prof. Einstein won't 
get a hurry-up call. 

v 

Beethoven's Last Stand 

—I also think it appro- 
priate that Beethoven 
should make his last 
stand on Clara 
Bow's set. In the 
days of silent pic- 
tures every star had 
an orchestra to 
stimulate her emo- 
tions. With the en- 
trance of the micro- 
phone orchestras 
were banned by ne- 



Clara Bow is the Cin- 
derella of the Para- 
mount lot but "She's an 
intuitively great ac- 
tress," says Herb Howe 
in his plea for the IT girl. 



C r\C-4)*^iAJLt& A *^' 



56 



The Stud ios Drift Away 
from Hollywood — 
Valentino's Fan Mail 
Continues — What's 
to Become of Clara 
Bow? — Lew Ayres 
Arrives 



cessity. Clara alone held out for 
the muse of music. Other stars 
may resent the prohibition of 
other things, but Clara alone de- 
fies the prohibition law against 
music. Of course, she can't have 
it while she's acting, but she in- 
sists upon it between scenes when 
the microphone isn't listening. 
There happened to be a prop phon- 
ograph on her set the day I panted 
on. The boys were maliciously 
playing Harry Richman records. 
Everyone knew that Clara and 
Harry no longer harmonized. But 
never once did Clara crack. Per- 
haps she was too much interested 
in her leading man, young Stanley 
Smith, to recognize Harry's voice. 
It is said that Harry put Clara on 
a six months' probation never to 
look at another man. Who, pray, 
does this Richman think he is? I, 
for one, insisted that Clara defy 
him, which she did in such a nice 
way that I've sent back my slave 
bracelet to Garbo. 



What's To Become of Clara? — 

Her producers sort of ditched 
Clara when the talkies came on. 
They knew she could look and so 
figured she couldn't talk. When 
"Paramount on Parade" was 

shown to exhibitors for the first time Clara was absent. 
The exhibitors screamed and pounded the arms of their 
chairs. They knew what they wanted and they wanted 
IT. The producers hastily dragged Clara out of the 
corner where they had stood her and let her do a little 
song and dance for the picture. To the anguish of an- 
other star on the lot she quite outstepped-and-out- 
warbled her. 

Clara says she would like to retire from the screen 
but can't because of so many poor relations dependent 
on her. She is tired of being banged about like Cinder- 
ella by press and producers. Personally I think Clara 
has been depreciated by the cheese-mongers' stories 
in which she has appeared. She is an intuitively great 
actress. Stuart Erwin, who worked with her in a recent 
picture, tells me she has one of those flash minds. She 
reads a script through once and knows every line. "She's 
an on-and-offer," says Stu. "But when she's great 
she's so darned great that you forgive her for letting 
down between spurts." 

Give Clara Bow the sympathetic management and in- 
telligent coaching that are vouchsafed the frigid Garbo 
and you'll witness the competition of fire against ice. 
Clara is what Chevalier calls the real thing. Otherwise 
why does Will Rogers mention her so often? And why 
do I in my squeaky way pound my typewriter into a 
white heat as I'm now doing? 




Herb Howe has gone to Europe to report Continental film news and gossip for 

NEW MOVIE for the next two or three months. You will find his new European 

comments of genuine interest. 



Garbo Befriends Interviewers — If there 
friend of interviewers it is Greta Garbo. 



to be interviewed. I wish more stars would realize they 
have nothing to say. But Greta came cackling off her 
perch when a Swede interviewer got sore because she 
shut the door to him. He went right home and said 
things in Swedish, which is a strong language. Greta 
hastily invited him to come back and made herself talk- 
ative in a big way. I'm not chauvinistic. Indeed, I've 
been spitefully accused of preferring a Polish lady to 
our native stars. No, it is not patriotism that makes 
me resent Greta slamming the door on American inter- 
viewers. It's just the bad taste of her. Why anyone, 
even a Swede, should prefer Swedes. . . . ! 

Greater Faith Hath No Woman — Ramon Novarro tells 
an interviewer that when he marries he wants a woman 
whose faith is so great that, when he tells her one thing 
and her eyes tell her another, she will still believe him. 
Ramon doesn't want to be a husband, he wants to be a 
god. Which, of course, is a far more commendable 
ambition. 

Tight in a Big Way — Chevalier is living up to our idea 
of a Frenchman by practising a frugality unparalleled 
in Hollywood. When he came West the second time he 
decided to rent a car to save the expense of purchasing 
one. When he found it would cost him fifty a week he 
went home and pondered the night through. The next 
day he said, "No, I can buy me a Ford in three months 

ever was a for what it would cost renting a big car. 

She refuses Chevalier and his wife live in a small apartment. 



57 



Herb Howe Tells You All About Hollywood Folk 



They take turns at 
the Ford. If a tire 
goes flat they also 
take turns. They do 
not entertain in a 
Hollywood way. And 
yet when Chevalier 
appears on the stage 
of a theater in Holly- 
wood for a week he 
dedicates the entire 
receipts of the first 
night to the Chevalier 
hospital in Hollywood. 
When other stars get 
tight in a big way 
like Maurice — well, 
they'll get our money 
in the same big way. 

Corinne F o r e v e r — 

I'm drenched from 
whimpering through 
stories about Corinne 
Griffith quitting the 
screen. She does say 
she may make just 
one more. Swearing 
off the screen is like 
swearing off on other 
things; just one more 
little one and you're 
on it again. But the 
big rainbow through 
my tears is the ru- 
mored possibility of a 
little toddling talkie 
of Corinne. Certainly 
this fine orchid strain 
should not die out. 
Charming, refined, 
potently feminine, Co- 
rinne yet has a brain 
that would do yeoman 
service for Morgan & 
Company. Although 

she has always appeared in luxury becoming an Eastern 
Empress, she has contrived to build a vast financial 
structure of bonds, stocks and realty holdings. 

In attempting to describe Mary Nolan, someone said, 
"Imagine Corinne Griffith beaten by life." I regret to 
say my imagination collapsed like a pricked balloon. I 
can't imagine Corinne beaten by life but I can imagine 
life jolly well beaten by Corinne, — if you'll pardon the 
English. 

Hollywood War Hero — I dropped in at the Hacienda 
Apartments to see Lew Ayres. In "All Quiet on the 
Western Front" Lew plays a soldier in a way that 
makes him an old vet's buddy. Of course, he was too 
young to serve in the World War, but his imagination 
apparently is equal to experience. Besides, the war that 
Universal staged for the picture was just about as hot 
as the original. 

"How did it feel to plunge your face in the mud?" 
I asked. 

"Funny, everyone asks that question," Lew said. 
"Well, it wasn't as bad as learning lines every night, 
after ten to twenty hours in trench and shell hole." 

You see a Hollywood hero has it tougher than a 
World War Sammy. We didn't have to learn lines, 
only such voluntary ones as "Beautiful Katie." I there- 
fore pin the Croix de Guerre on the bosom of young 
Lew Ayres. He's a boy of authentic character who I 
hope will come through the battle of Hollywood un- 
scathed. Incidentally there are more casualties in that 
battle than in any on the Western front. Few come 

58 




C KtsW* iwUtK 



out of it the same as 
they entered. 

Hollywood Rumor — 

No small town can vie 
with Hollywood in 
fantastic gossip. I 
was soberly informed 
that Lew was given 
the name "Lewis 
Ayres" by his direc- 
tor Lewis Milestone 
who goes about places 
with Agnes Ayres. 
The "Lewis" was 
from Milestone, the 
"Ayres" from Agnes. 
My informant didn't 
say how Lew's par- 
ents came by their 
name of Mr. and Mrs. 
Lewis Ayres. Maybe 
Mr. Milestone spon- 
sored their christen- 
ing, too. 

More reliable, per- 
haps, is the story of 
little Ena Gregory 
who was casting 
about for a more pro- 
pitious name. She 
figured that Mary and 
Douglas were just 
about the best names 
in the business and 
so she is now Marion 
Douglas. A girl with 
such genius should be 
heard from in a big 
way. 



Maurice Chevalier is setting a 

Instead of buying an expensive 

in a Ford. And the Cheval 



Hollywood record in frugality, 
car, he travels about Hollywood 
ers live in a small apartment. 



Talkie Finds— How 
badly the microphone 
has ravaged Holly- 
wood may be esti- 
mated by the fact that 
one studio has let out fifty of the seventy players who 
were under contract before the talkies came. And yet 
the most promising finds of the past year are not all 
"talkie" actors from the stage by any means. Among 
the best bets I would list Lewis Ayres, Loretta Young, 
Stuart Erwin, Stanley Smith, Bernice Claire, Lola Lane, 
Constance Bennett, Joan Bennett, Jeanette MacDonald, 
Claudette Colbert, Ann Harding, Robert Montgomery, 
and that little enfant terrible, Marie Dressier. Two of 
these have had no stage training; others have had no 
more than many of the silent players had had. Talkie 
or no talkie, Hollywood is a seething revolution. That's 
what makes it exciting. You never know what day you 
may be a Trotzky. 

The Comic Valentine — Stuart Erwin is getting the rec- 
ognizing chuckles out of audiences when he appears, 
just as Jack Oakie did in his beginning. Stu arrived 
in the world on Valentine's Day and was left at a post- 
office called Squaw Valley. He looked so much like Will 
Rogers, that, even to this day, his folks wonder if the 
stork didn't make a mistake in the address. Stu says 
he chose pictures for a career because he realized he was 
dumb. He flopped out of two universities. 

In his first stage appearance he essayed five char- 
acters: A juvenile, a bearded gentleman, an Irishman, a 
German and a Negro. After that he played all sorts of 
parts, acted as stage manager and eventually was pulled 
into pictures by Winnie Sheehan. Despite the fact that 
he is becoming notorious as a stealer of star pictures 
he is very popular among (Continued on page 97) 




Photograph by Richee 



CHARLES (BUDDY) ROGERS 



59 




Photograph by Hurrell 



ANITA PAGE 



60 




I'll graph by Hurrell 



ROD LA ROCQUE 



6] 




Photograph by Fred R. Archer 



VIVIENNE SEGAL 



62 




Photograph by Richer 



MARLENE DIETRICH 



63 



■HBraBBHHMHBHHMBI 




Photograph by Richee 



RUTH CHATTERTON 



64 



MMUB^HWHHK- illlWIIIIIIIIII 




Photograph by Elmer Fryer 



KAY FRANCIS 



65 



The MONTANA KID 

One of the Greatest Contradictions in Pictures Is Gary 
Cooper, Who Began by Being Hollywood's Worst Actor 



BY DICK HYLAND 



On and off the 
screen Gary Cooper 
leaves you guessing. 
He talks too little for 
anyone to learn 
much about him. 



H 




E'S a big, rough, tough guy, this Gary Cooper. 
He's the type you'd expect, to love his mother 
and protect your sister, this boy with the em- 
barrassed, intriguing grin. 
He's the quiet gent, who came out of Montana and 
caused all Hollywood to talk about him. They have to 
talk because Hollywood sees him around and yet does 
not know him. Those ingredients make for much talk 
almost anywhere. 

There are folks who have known Gary Cooper for 
years, directors who have handled him in whole pic- 
tures, and have not heard him speak over a hundred 
conversational words. 

HE is one of the greatest contradictions in pictures, 
is this third of the Three Musketeers of Hollywood. 
The reason for that is that he stimulates the imagina- 
tion. He and Garbo are the only two people on the 
screen who fit into anything your own imagination 
creates around them. If you want to see Garbo as a 
sweet and gracious woman, it's easy. If you want to 
see her as a sleek and sirenish vampire, you can do that. 
Her glimmering personality is like a beautiful picture, 
into which you fit your own ideals and dreams. 
Gary Cooper is the same. He is the perfect model 
around which you can weave anything you like 
and he will not interfere with it. If you like a 
hard, dangerous man, it is easy to think of 
Cooper as being like that. If you want a 
sweet, embarrassed boy, he's there. The qual- 
ity which sets women dreaming and men 
remembering and longing for adventure 
seems to be part of Gary. 
On the screen Gary Cooper is all things 
to all men — and women. 
Which explains his drawing power. 
He is not a good actor. He is not a 
handsome man, in the generally 
accepted sense of the word. He 
has no tricks of personality, no 
mannerisms. None of the fin- 
ish of Barrymore or the fire 
of John Gilbert. 
But he has more of every- 
thing, and he lacks less, 
. than any of them. 
Off the screen — he 
still leaves you 
guessing. 



66 





Gary Cooper is shy. 
He dislikes crowds 
and parties. Yet his 
three romances have 
been the talk of the 
movie capitol. 





There again, he is not good 
looking. Far from being a 
Buddy Rogers in the matter of 
profile and dark curls. A tall, 
lanky young man, with a strong 
chin and well-set eyes that at times 
look clear through you and at other 
times seem 'incapable of having a 
thought behind them. There is a lean- 
ness of limb and of feature about Gary 
Cooper that is pleasing. 

But he talks so little it is impossible 
to know much about him. 

XjO small talk of any kind has Cooper. He 
-L^ 1 either will not or cannot do it. He is a 
first-class grunter if ever there was one. Ask him 
if he thinks it is a nice day and he'll grunt. Ask him 
how his pictures are going and he'll grunt. If you 
talk for a long time, he stops grunting and smiles — 
a sort of pleasant, but not very enthusiastic smile. 

As a matter of fact he never says anything unless 
he has something to say. Otherwise, silence is good 
enough for him. The necessity for keeping conversa- 
tion going is not apparent to his mind. If the subject 
is one about which he knows nothing or is not inter- 
ested, he simply allows it to slide by without effort. 

Only once have I been able to get him going. 

He came out to the house one night to dinner. It was 
two years ago — just after I had met him. He came 
early, while my wife was still dressing. I'm not fool- 
ing when I say that before dinner I felt like the ancient 
Greek orator who spent hours talking to the waves on 
the beach. 

Finally, long after the coffee and just about the time 
I was ready to say, "Well, good night, brother. Dash 
along and I hope you have not worn yourself out grunt- 
ing at me," I happened to mention that I had spent 
some time as a forest ranger. That I knew a bit from 
a halter and how to hobble a horse. That long days 
spent in the saddle in the California mountains were 
among the most perfect a man could experience. 

It was the "open sesame" to Gary Cooper. He cut 
loose and talked for an hour about horses, about the 
range, about saddles, about cattle and the nights under 
the stars. He made me smell the campfire again and 
feel the rain beating into my face as I rode into it. 
The peace that comes when you are alone in the 
mountains or on the plains with a good horse under 
you was mine again. Gary Cooper knew his stuff and 
could talk it well. 

There was emotion in his voice, poetry in his words, 
and fire in his eyes. 

I give that example in refutation of the rumor which 
one sometimes encounters around Hollywood that Gary 
Cooper is dumb. He isn't. He just will not be a wise- 
cracker. Which is a relief at times. His sense of 
humor is typically Western — dry, slow, and chiefly for 




his own amuse- 
ment and not 
for the entertain- 
ment of others. 

T DON'T know that 
A you would call him 
anti-social. But he does 
not care for parties and 
crowds. When you do see 
him out he usually stands, 
tall and grave, watching oth- 
ers mill about. Or he finds some 
one person who interests him 
and spends his time in a corner. 
I remember seeing him' sit all one 
Sunday afternoon on the end of a 
diving-board talking to Evelyn Brent, 
while fifty other people swam, played 
tennis and talked in groups at a garden 
party. 

Partly, he is shy. Very easily embarrassed 
and self-conscious. Partly, he thinks that all 
the social chatter and laughter of people is a 
waste of time and energy. 

Gary has needed all his energy since he first 
came to Hollywood. 



67 




Gary Cooper with his father and mother, Judge and Mrs. Henry Cooper. Gary was born in Montana and went to 

Hollywood to seek his fortune as a commercial artist. 



First of all, he has had three rather hectic love 
affairs with three very dynamic young women. 

Clara Bow saw him first, when he played with her 
in "Children of Divorce." It was a mad young romance 
and nearly cost Gary his chance in pictures. For it 
swept him completely off his feet: — this quiet, silent 
cowboy from Montana — and he forgot all about his 
career and his work. 

Then for a long time everyone thought he was going 
to marry Evelyn Brent. You've seen Betty Brent on the 
screen. A vivid, forceful girl, with a wealth of emo- 
tion and a keen brain. 

Now Lupe Velez, the wild-cat from Mexico. It is 
funny to watch Lupe and Gary together — like seeing 
a small typhoon playing around a big, gray battleship, 
or a Pekinese pup annoying a Great Dane. Gary 
adores her, accepts all her emotionalism, her tempestu- 
ous outbursts, her wild mirth — with his slow, shy 
smile. When she starts kissing him in public — at the 
Montmartre at lunch or some such place — he takes it 
with a grin, embarrassed but unconcerned. 

THE second thing for which he has needed his energy 
is his work. 

Because Gary Cooper is not a natural-born actor. 

No man who ever succeeded before the camera was 
so terrible to begin with. He was the world's worst 
actor and the hardest man to direct who ever stepped 
on a stage. 

If Gary Cooper owes his success to anyone, it is to 
Frank Lloyd, one of the best directors in pictures. 

Frank directed "Children of Divorce," which was 
Gary's first real picture. Before that he had appeared — 
by chance- — as Abe Lee in "The Winning of Barbara 
Worth". Then Paramount, desperate for a leading 
man, as every studio was at that time, cast him for a 



young polo player in a picture under Frank's direction. 

It was awful. In fact, it was plain murder. Frank 
worked until he was exhausted. It took him three 
clays to get one scene of Gary opening a letter and 
looking surprised. Twice Paramount decided to take 
him out of the part, and twice Frank Lloyd fought to 
keep him in. 

"He can't act yet," he said, "but he's got something. 
I'll manage with him. Let him alone for a while." 

p INALLY, after a terrific struggle, Frank Lloyd 
pulled him through. 

And the public went crazy about him. They liked 
that awkwardness, that shy naturalness that was not 
acting. They liked the tall, strong young man who 
actually looked like a man and not an actor. 

Gary Cooper, to his own and everyone else's amaze- 
ment, was OVER. 

He is still difficult to direct. 

He did not want to be a movie actor! He wanted to 
be a commercial artist. When he came down to Los 
Angeles from Montana it was for that purpose. But he 
flopped, finally could not get a job. 

To keep from starving to death, and because he knew 
how to ride, he got a job as an extra in Westerns. He 
went to Nevada with the company making "The Win- 
ning of Barbara Worth" merely as a cowboy extra. 
But the man who was to have played the part of Abe 
Lee took sick and Gary was shoved into it. Merely 
because he looked nearest the part and they could not 
wait until an actor came from Los Angeles. 

Unless all signs go wrong, Gary Cooper is going to 
come closer to taking Wally Reid's place than anyone 
else. Which would probably have pleased Wally be- 
cause he would have liked Gary Cooper a lot. 

But then — who wouldn't? Or doesn't? 



IN NEXT MONTH'S NEW MOVIE 

ADELA ROGERS ST. JOHNS 

will tell the brave and dramatic story of Anna Q. Nilsson, crippled by an accident and 
fighting 1o recover her place in moviedom 



68 




Photogr.iph by Gene Robert Richcc 

JEAN ARTHUR 

Poses as Sir James Barrie's immortal Peter Pan, the boy who wouldn't grow up. 



60 




Gloria Swanson (above) in a suit of black 
broadtail, with ivory transparent velvet 
waist. A silver fox cuff for one sleeve 
only lends a smart touch to the ensemble. 
A close-fitting hat is worn with this 
original costume. 



Gloria Swanson demonstrates the correct 
thing for sports aboard ship. She is 
wearing a blue floccallic sports suit 
trimmed with harmonizing suede. Her 
blue suede beret matches the suit. A 
white pique blouse with turned down 
collar is worn with this costume. 






70 



The Famous Star 
Poses in the 
Newest Modes 



SPECIAL PHOTOGRAPHS 
BY RUSSELL BALL 



Miss Swanson demonstrates 
the newest and smartest in 
dinner dresses. The gown is 
of nude satin, in which both 
sides of the material are used. 
A circular cape collar falls 
over one shoulder to form a 
fetching train. 




^— 



GLORIA'S 1930 



Miss Swanson (at the left) is wearing an attrac- 
tive afternoon suit. It is of French leda, trimmed 
with leopard. With it she wears a beige 
satin blouse and a leopard trimmed felt hat. 



i 




A smart street ensemble is shown by Miss 
Swanson at the right. It is made of black 
flat crepe and gray tribor, trimmed with 
astrakhan. With it Miss Swanson wears 
a close-fitting black felt hat. 



72 



FASHION REVUE 



An evening gown of pale green crepe mogul 
is revealed by Miss Swanson at the right. This 
is embroidered along the neckline with fine 
stones. With this costume Miss Swanson wears 
three bracelets of original design just above 
the elbow. Her earrings match. 








At the left Miss Swanson is seen in a 
transparent black velvet tea gown with 
sleeves forming large circular flounces at 
the wrists. These are trimmed with rows 
of white gardenias 



73 






HOW HOLLYWOOD 
ENTERTAINS 

Mrs. George Fitzmaurice Gives a Shower for the Movie Colony's 
Bride, Bebe Daniels, and Entertains at a Buffet Dinner 



By EVELYN GRAY 

Special Photographs by Stagg 



THERE is no more delightful occasion for enter- 
taining than to honor some prospective bride 
with a shower. There are a vast number of 
showers which can be arranged, from little use- 
ful articles which every young wife is going to need to 
the finest gifts for her trousseau. 

Bebe Daniels was honored before her wedding to 
Ben Lyon by several showers, given by her intimate 
friends and members of her bridal party. Just before 
the ceremony Mrs. George Fitzmaurice entertained 
with one of the most delightful parties ever given in 
Hollywood. The scene was the beautiful English home 
of the Fitzmaurices in Beverly Hills. 

Seventy-five of Bebe's feminine friends were invited 
for an eight-o'clock din- 



wood's most charming hostesses, used great taste in 
her decorations. A big bay window in the drawing- 
room was filled with baskets of white flowers, Easter 
lilies and sprays of white blossoms being the motif. 
Here she arranged an enormous clothes basket, cov- 
ered with frilly white paper, from which the beau- 
tifully wrapped presents appeared to spill in gay pro- 
fusion, Each guest as she arrived deposited her 
package, and Bebe had the delightful suspense of 
seeing this heap of treasures awaiting her hand when 
dinner was over. 

The dinner itself was served in buffet style. Many 
small card tables had been set up in the dining-room, 
the big sun porch and the small breakfast room, cov- 
ered with white cloths 



ner. The men were asked 
to come in around ten 
o'clock. 



M 



RS. FITZMAURICE, 
who is one of Holly- 



Mrs. George Fitzmaurice puts the finishing touches to the 
gardenia decorations of a table. The centerpiece shows a 
doll in a cage with a toy lion, the doll standing with tiny foot 
planted in the lion's neck. The dinner itself was served in 
buffet style. 



and with the silver laid. 
The guests served them- 
selves and then found 
their special friends and 
the smaller tables ar- 
ranged around the rooms. 




74 



._ 




*~pHE menu was a particu- 
*■ larly delightful one, as 
the Fitzmaurices are famous 
for a dish known in the Hol- 
lywood circle as "Fitzmau- 
rice hash." We begged the 
recipe from Fitz, who 
brought it with him from 
Italy after a trip abroad 

some years ago, and it is given in detail at the end of 
this article. Besides big chafing dishes and casseroles 
of this famous dish were platters of turkey, roasted po- 
tatoes, and new peas, and two large platters of a mar- 
velous vegetable salad with French dressing. 

In the center of the table was a special. decoration 
arranged by Mrs. Fitzmaurice, which caused much 
laughter among the guests. In a white bird cage was a 
woolly lion, such as kiddies receive on Christmas. Above 
the prostrate figure of the lion was an adorable doll, 
in a wedding costume, with her small foot firmly planted 
on the lion's neck. 

The dessert, served at the tables, was ice-cream made 
in a lion mold, and in a mold of a small book, with the 
names "Bebe-Ben" written in colored ice-cream. Coffee 
and mints were served following the dessert. 

AS soon as dinner was over — during the meal a four- 
■^ piece orchestra played softly in a curtained alcove, 
using as their chief selections the favorite songs from 
Miss Daniels' screen success, "Rio Rita" — Miss Daniels 
took her seat beside the gifts and the girls gathered 
about her, sitting on the floor. She opened the presents 
among her friends and received many congratulations 
on the lovely additions to her bridal trousseau and the 
furnishings for her new home. 

Mrs. Fitzmaurice's gift was the wedding nightgown 
of white satin and D'Alencon lace, copied exactly from 
the one made in Paris for the trousseau of Princess 



A few of the girls and the gifts at Mrs. Fitzmaurice's 
party. Seated : Carmen Pantages and Colleen Moore. 
Standing, left to right: Lou Rawson, Eileen Percy, Mrs. 
Fitzmaurice, Julanne Johnson and Mrs. Laurence Wheat. 
Sixty girls attended the shower. You can read all 
about their costumes in this article. 



Marie-Josef of Belgium. 
Miss Daniels wore a din- 
ner gown of soft green chif- 
fon, the figure outlined with 
delicate ruffles of the same 
material. A corsage of orchids 
was worn on the shoulder. 
The hostess, Mrs. Fitzmau- 
rice, wore a bouffant dress 
of sheer white organdy, very tight at the waist and 
with a full, long skirt, and a tiny bolero jacket of blue 
embroidery. 

ZITHERS present were: 

" Colleen Moore, in a dress of print chiffon, made 

with a long skirt of plaited ruffles. 

Elsie Janis. White taffeta, with a broad hem of black 
around the bottom and a neckline ornamented with rose 
and gold. 

Mrs. Richard Barthelmess. A tight-fitting gown of 
silver and green metallic cloth, with a wide bertha 
around the neckline. 

Dolores del Rio. Chartreuse green velvet, with a 
fairly short skirtline, around which fell long panels 
touching the floor. With this she wore emerald rings 
and earrings, and orchids. 

Lilyan Tashman. A tight-fitting gown of black chif- 
fon, cut to the waistline in the back and with invisible 
shoulder straps of flesh chiffon. The black chiffon was 
printed from the knees down in very large convention- 
alized roses. 

Carmen Pantages. A green and mauve print, softly 
draped and with a little winged cape over the shoulders. 

Betty Compson. White taffeta, belted exactly at the 
waistline and covered with tiny gold stars. 

Billie Dove. All black chiffon, with a simple bodice 
belted at the waist, and a long skirt, ending in a full, 
ruffled flounce below tho knees. (Contifiued on page 109) 

75 




76 



At the right, Miss Bow 
standing in the arched 
doorway leading to the 
dressing room. Rose bro- 
caded curtains, edged with 
chiffon ruffles and caught 
back with velvet bands, 
drape the entrance. The 
wardrobe is concealed by 
sliding doors. The carpet- 
ing is of a very pale and 
warm shade of mulberry. 



SPECIAL PHOTOGRAPHS 
By DON ENGLISH 




The Bow bedroom is furnished in old ivory enamel. The 
bed is raised on a dais and covered with a throw of ruck 
rose brocade. Besides the bed, the boudoir furniture 
includes a chest of drawers, a dressing table and a writing 
desk, all in old ivory. The drapes are of antique rose 
brocade, but the window curtains are of lightly ruffled 
wisps of maize chiffon, bringing a splash of eternal sun- 
shine into the room. An imported crystal chandelier 
hangs from the center ceiling. 



MOVIE 

BOUDOIRS 



IV. CLARA BOW 



77 




1 



11 



The Bow boudoir. The star's 
bed is devoid of footboard or 
headboard, but is richly draped 
and covered with generous yards 
of brocade. Pale rose chiffon, 
caught into folds and pleats, 
forms the inner portion of the 
overhead draping. 



Miss Bow's dressing table is placed beneath a 
window to permit unobstructed lighting for the 
intricate details of make-up. This table is draped 
with the same antique rose brocade that covers 
the bed and curtains the doorway. The top is 
covered with glass, over a yellow silk ground. 
A myriad of perfume bottles are arranged on 
the table, crystal and onyx vying with jade and 
different colored quartz. 



■TWkgkBBBk 





At the left , Miss Bow's Chinese room, 
designed for relaxation and rest. The 
walls are covered with a black and 
gold material, displaying Chinese 
scenes. One entire corner is devot- 
ed to a huge divan that is built into 
the walls. It is covered with black 
and decorated with pyramids of red 
and gold pillows. Red and gold 
brocade curtains cover the French 
windows. A black carpet and Ori- 
ental rugs conceal the floor. A gold 
Buddha sits on a throne at one side. 



78 




Phillips Holmes, son of the comedian, Taylor Holmes, came into his own in Nancy 
Carroll's "The Devil's Holiday." He scored a real hit. You will next see him with 

Cyril Maude in "Grumpy." 



Photograph by Otto Dyar 



PHILLIPS 
HOLMES 



79 




In these specially posed photographs, Alice White forgets her flapper past and 
tries to capture the mood of that Victorian Alice who dreamed a magic dream. 
Above you see her with the imperious Queen of Hearts who was one of the 
creatures who "ordered one about so." Alice is crouched under the fantastic 
mushroom, a taste of which made little girls grow short or tall at will. And below 
you find her in Hollywood's version of the Lewis Carroll garden. 




80 




Do you remember the card gardeners who 
painted the roses in order to placate the 
angry Queen? Perhaps these photographs 
are in the nature of a dress rehearsal and 
Miss White will surprise the public by bring- 
ing the "child with the clear untroubled 
brow" to the screen. 



Alice in 
Wonderland 



81 



rzi 




DOROTHY 
JORDAN 



Photograph by Hurrell 

Miss Jordan is a Tennessee girl. After a few appearances in the choruses of Broadway 
musical comedies, Miss Jordan went to Hollywood. Her first chance came in the Pickford- 
Fairbanks film, "The Taming of the Shrew." After that, she became Ramon Novarro's 
leading woman in three films, " Devil May Care," "Gay Madrid," and "The Singer of 
Seville." Miss Jordan is one of the most promising of the Hollywood youngsters. 



82 



REVIEWS: By Frederick Ja mes Smith 



THE DEVIL'S HOLIDAY 

Paramount 

Directed by Edmund Goulding. 
The cast: Hallie Hobart, Nancy 
Carroll; David Stone, Phillips 
Holmes; Mark Stone, James 
Kirkwood; Ezra Stone, Hobart 
Bosworth; Charlie Thome, Ned 
Sparks ; Monkey McConnell, 
Morgan Farley; Kent Cart; Jed 
Prouty; Dr. Reynolds, Paul 
Lukas ; Ethel, Zasu Pitts ; Fred- 
die, Morton Downey; Hammond, 
Guy Oliver; Aunt Betty, Jessie 
Pringle. 



THE TEXAN— Paramount 

Directed by John Cromwell. 
The cast: The Llano Kid, Gary 
Cooper; Consuelo, Fay Wray; 
Senora Ibarra, Emma Dunn; 
Thacker, Oscar Apfel; John 
Brown, James Marcus; Nick 
Ibarra, Donald Reed; The 
Duenna, Soledad Jimenez ; 
Mary, Veda Buckland; Pas- 
quale, Cesar Vanoni; Henry, 
Edwin J. Brady; Sixto, En- 
rique Acosta; Cabman, Romu- 
aldo Tirado. 



Edmund Goulding, who wrote and directed this, 
has a sure screen touch. He brought back Gloria 
Swanson with "The Trespasser." Here he has lifted 
Nancy Carroll from mere flapper roles to real heights 
of sincerity. This is the story of the son of a rich 
wheat farmer and a gold-digging Chicago manicurist, 
their marriage and what came of it. The regenera- 
tion of the flashy, shallow Hallie is superbly depicted 
by Miss Carroll. And Phillips Holmes gives a splen- 
did performance of the simple lad from the wheat 
fields. This film is 'way above the average, possessing 
sincerity and force. It is a picture you should surely 
see. 

Best — Nancy Carroll 



Since the success of "The Virginian," it is evident 
that Gary Cooper must make other geographic sequels. 
Here he is a Texas cowpuncher who falls in with a 
crook's efforts to fleece an old woman in South Amer- 
ica. The woman has offered a big reward for her lost 
son, who ran away at the age of ten. The scheme 
calls for Gary to pose as the son and split the reward 
with the crook. Down in Latin America, the Llano 
Kid finds he can't go through with it. He's fallen in 
love with his "cousin," played by Fay Wray. You will 
like Gary, who has never been more sincere, and you 
will like the picture, too. 

Best — Gary Cooper 





THE BIG POND 

Paramount 

Directed by Hobart Henley. 
The cast : Pierre, Maurice 
Chevalier ; Barbara Billings, 
Claudette Colbert ; Ronnie, 
Frank Lyon; Mr. Billings, 
George Barbier; Mrs. Billings, 
Marion Ballou; Pat O'Day, Nat 
Pendleton ; Toinette, Andree 
Corday; Jennie, Elaine Koch. 



The process of flattening Maurice Chevalier into the 
conventional movie mould has started. His newest 
film, "The Big Pond," is the sort of thing Richard Dix 
once acted. An American girl, while abroad, falls in 
love with a Frenchman. Her father, hoping to cure 
her, brings the Parisian back to America and puts him 
to work in his factory. But the foreigner makes good 
and becomes a big success. Chevalier is not at his best 
as a go-getter. He is too expert an actor to fail, how- 
ever, and keeps "The Big Pond" above water. Still, 
the film is pretty poor. The charming Claudette Col- 
bert is lost in the proceedings, too. 

Best — Maurice Chevalier 




BRIDE OF THE REGI- 
MENT— Firsf National 

Directed by John Francis Dil- 
lon. The cast: Countess Anna- 
Marie, Vivienne Segal; Count 
Adrian Beltrami, Allan Prior; 
Colonel Vultow, Walter Pid- 
geon; Teresa, Louise Fazenda; 
Sophie, Myrna Loy; Sprotti, 
Lupino Lane; Tangy, Ford 
Sterling; Sgt. Dostal, Harry 
Cording; Capt. Stogan, Claude 
Fleming; The Prince, Herbert 
Clark. 



This was once a stage operetta called "The Lady in 
Ermine." A picturesque background: Northern Italy 
near the border years ago when Austrian hussars were 
putting down a rebellion. Count Adrian Beltrami has 
to make his escape on his wedding night. It falls to 
his bride, the Countess Anna-Marie, to entertain the 
ruthless invaders. Their leader is a dashing colonel 
who has few scruples. In this role Walter Pidgeon, 
tall and striking, stands out. But the star is Vivienne 
Segal, Broadway luminary, who does very well with 
the role of the countess bride. Myrna Loy is excel- 
lent, too. 

Best — Vivienne Segal 




THE ARIZONA KID— Fox 

Directed by Alfred Santell. 
The cast: The Arizona % Kid, 
Warner Baxter; Lorita, Mona 
Maris; Virginia Hoyt, Carol 
Lombard; Nick Hoyt, Theodor 
Von Eltz; Snakebite Pete, Ar- 
thur Stone; Pulga, Mrs. Jime- 
nez; Sheriff Andrews, Walter 
P. Lewis; The Hoboken Hooker, 
Jack Herrick; His Manager, 
Wilfred Lucas; Bartender Bill, 
Hank Mann; Molly, DeSacia 
Mooers. 



Continuing the adventures of the Cisco Kid, the 
dashing, singing hero of ".In Old Arizona." Warner 
Baxter is again the guitar-strumming, roistering des- 
perado. No, the sequel isn't as good as "In Old Ari- 
zona." Sequels rarely hit the fine zest of their prede- 
cessors. Hoofbeats again clatter across the mesa. 
Stage coaches again creak and thunder through lonely 
passes. And the Cisco Kid rides quite as fearlessly. 
It is a pleasant enough yarn, of the Cisco Kid, his love 
■for a faithless blonde (Carol Lombard), and how the 
fiery-tempered Lorita (Mona Maris) saves him. Bax- 
ter is ingratiating. 

Best — Warner Baxter 




ALL YOU WANT TO KNOW 




Metro-Goldwyn happily borrowed Ruth Chatterton 
from Paramount to play the shrewdly understanding 
actress heroine of what was once a stage play called 
"The High Road." This is one of those swanky 
studies of British life. Drawing-room dramas, they 
used to call them in the old stage days. Miss Chatter- 
ton is adroit and sure as the actress who sends the man 
she loves back to the woman he has loved. And she is 
ably aided by Basil Rathbone as the man. This is 
tastefully directed and acted. It will hold you mildly, 
unless you buck at folks who hide their breaking 
hearts behind a teacup. The talkies, by the way, have 
been going in for this polite drama pretty heavily. 
Best — Ruth Chatterton 



THE LADY OF SCANDAL 
M-G-M 

Directed by Sidney Franklin. 
The cast: Elsie, Ruth Chatter- 
ton; Edward, Basil Rathbone; 
John, Ralph Forbes; Lady 
Trench, Nance O'Neil; Lord 
Trench, Frederick Kerr; Lord 
Crayle, Herbert Bunston; Sir 
Reginald, Cyril Chadwick; Lady 
Minster, Ellie Ellsler; Hilary, 
Robert Bolder; Alice, Moon 
Carroll ; Ernest, Mackenzie 
Ward; Morton, Edgar Norton. 




Just another milestone in the wrecking of a bril- 
liant film career. Clara Bow, who can troop with the 
best of them and who has personality, is weighted 
down with a yarn that is both dull and dumb. Clara 
is the pert soda fountain attendant with a sweetheart 
on every ship of the Pacific fleet. She flirts with 'em 
all until Gunner McCoy appears — and then it's all 
over. Clara cries and sings — but she can do some- 
thing far better than this. We refer you to Herb 
Howe's plea for Clara on another page of this issue. 
Fredric March plays Gunner McCoy, the target prac- 
tice hope of the squadron. Won't somebody do some- 
thing for our Clara? 
Best — Clara Bow 



TRUE TO THE NAVY 
Paramount 

Directed by Frank Tuttle. 
The cast: Ruby Nolan, Clara 
Bow; Gunner McCoy, Fredric 
March; Solomon Bimberg, Har- 
ry Green; Eddie, Rex Bell; 
Michael, Eddie Fetherston; Al- 
bert, Eddie Dunn; Peewee, Ray 
Cooke; Artie, Harry Sweet; 
Maizie, Adele Windsor; Grogan, 
Sam Hardy; Manager Dance 
Hall, Jed Prouty. 




"The Silent Enemy" is hunger. This is a record of 
primitive Indian life, a saga of the North American 
aboriginals. Two explorers spent two years in North- 
ern Ontario, studying the ways of the redskin, sharing 
his hardships and persuading him to take part in a 
mimic representation of his life as it was. The flavor 
of James Fenimore Cooper is somehow caught but the 
naive and simple charm of "Nanook" and "Moana" is 
absent. "The Silent Enemy" is a tribal panorama of 
brave Chetoga and his Ojibway tribesmen, of the 
squaws and the children. There is an exciting caribou 
stampede. This has synchronized Indian music but 
no dialogue. 
Best — Chief Long Lance 



THE SILENT ENEMY 
Paramount 

Directed by William Douglas 
Burden and William C. Chanler. 
The cast: Chetoga, Tribe Lead- 
er, Chief Yellow Robe; Baluk, 
the Mighty Hunter, Chief Long 
Lance; Dagwan, the Medicine 
Man, Chief Akawansh; Neewa, 
Chetoga's Daughter, Spotted 
Elk; Cheeka, Chetoga's Son, 
Cheeka. 




Of course, you liked Will Rogers in his comedy, "So 
This Is Paris." Here's the inevitable sequel which 
carries America's unofficial ambassador to England. 
It isn't nearly as good as its predecessor. There's no 
Fifi Dorsay. But it is amusing stuff, this comedy of 
an American family doing Europe. Son falls in love 
with the daughter of a British lord and Hiram Draper 
of Oklahoma (Will Rogers) has to make the best of 
it, despite his hatred of all things English. There's a 
hilarious sequence when the dazed Hiram attends a 
British shoot as the guest of the lord. Will Rogers 
seems to us to be rather labored in this comedy. His 
homely comedy is getting a little thin. 
Best— Will Rogers 



SO THIS IS LONDON 
Fox 

Directed by John Blystone. 
The cast: Hiram Draper, Will 
Rogers; Mrs. Hiram Draper, 
Irene Rich ; Junior Draper, 
Frank Albertson ; Elinor Worth- 
ing, Maureen O 'Sullivan; Lord 
Percy Worthing, Lumsden 
Hare; Lady Worthing, Mary 
Forbes; Alfred Honeycutt, 
Bramwell Fletcher; Lady Amy 
Ducksworth, Dorothy Christy; 
Martha, Martha Lee Sparks. 




Barbara Stanwyck, who didn't score at her movie 
debut in "The Locked Door," hits the gong hard in this 
story, which was produced as a stage play, called 
"Ladies of the Evening," by David Belasco. It's all 
about gold diggers and their victims, wild studio par- 
ties and tawdry penthouse orgies. It's too untamed 
for little Willie. Kay Arnold is a typical gold digger 
with a library consisting of two volumes — the tele- 
phone book and Bradstreet's- — until she meets a nice 
young artist. Then her hard-boiled veneer drops away 
■ — and she's quite another person. Miss Stanwyck 
makes the part both sincere and believable. She's 
delightful. 
Best — Barbara Stanwyck 



LADIES OF LEISURE 

Columbia 

Directed by Frank Capra. 
The. cast: Kay Arnold, Bar- 
bara Stanwyck; Bill Standish, 
Lowell Sherman ; Jerry Strange, 
Ralph Graves; Dot Lamar, 
Marie Prevost; Clair, Juliette 
Compton; Mr. Strange, George 
Fawcett; Charlie, Johnnie Wal- 
ter ; Mrs. Strange, Nance 
O'Neil. 



ABOUT THE NEW PICTURES 



THE 



FLORODORA 
M-G-M 



GIRL 



Directed by Harry Beaumont. 
The cast: Daisy, Marion Da- 
vies; Jack, Lawrence Gray; De- 
boer, Walter Catlett; Heming- 
way, Louis John Bartels; Fan- 
ny, Ilka Chase; Maud, Vivian 
Oakland; Old Man Dell, Jed 
Prouty; Rumblesham, Claud Al- 
lister; Fontaine, Sam Hardy; 
Mrs. Vibart, Nance O'Neil; 
Commodore, Robert Bolder ; 
Constance, Jane Keithely. 



NEW MOVIETONE FOL- 
LIES OF 1930— Fox 

Directed by Benjamin Stoloff. 
The cast: Axel Svenson, El 
Brendel; Vera Fontaine, Mar- 
jorie White; George Randall, 
Frank Richardson; Gloria De 
Witt, Noel Francis; Conrad 
Sterling, William Collier, Jr.; 
Mary Mason, Miriam Seegar; 
Marvin Kingsley; Huntley Gor- 
don; Lee Hubert, Paul Nichol- 
son; Maid, Yola D'Arvil; Door- 
man, J. M. Kerrigan. 



The Mauve Decade — that era of mutton sleeves, 
bicycles built for two and super-modest bathing suits 
— comes in for a lot of spoofing in this comedy. 
Marion Davies plays Daisy, a guileless member of the 
famous Florodora sextette who falls in love with a 
gay society rounder. There's a scoundrel who tries 
to steal our Daisy, but true love wins. Our hero goes 
into the business of making horseless carriages — and 
acquires a fortune. When this comedy sticks to broad 
burlesque it is funny and Marion Davies is at her best 
in her comic moments.- You'll love the sextette when 
it dashes into "Tell Me, Pretty Maiden," with the 
giddy abandon of the '90s. 

Best — Marion Davies 

What, another revue? Here specialties are held to- 
gether by a thin plot, dealing with the spendthrift 
nephew of a millionaire who is in love with a show 
girl. This somehow or other permits of the moving of 
a Broadway revue, scenery and all, to the rich uncle's 
country estate in Westchester. To our way of think- 
ing, Noel Francis scores best as a blues singing show 
girl, while El Brendel holds up an otherwise weak 
musical picture. Brendel plays a valet who poses as a 
wealthy lumberman from somewhere or other. This 
is elaborately staged and has ambitious intentions — 
but it is just fair. Marjorie White is entirely too 
forced for our taste. 

Best — Noel Francis 





SWEET MAMA 
First National 

Directed by Edward Cline. 
The cast: Goldie, Alice White; 
Jimmy, David Manners; Joe 
Palmer, Kenneth Thomson ; 
Lulu, Rita Flynn; Al Hadrick, 
Lee Moran; Gangsters, Lee 
Shumway, Lou Harvey, Richard 
Cramer and Robert Elliott. 



What, the underworld and cabarets again? Here 
they are, playing the background once more for Alice 
White. Alice is Goldie, a burlesque chorine who gets 
all mixed up with a gang of crooks who are about to 
rob a bank. Of course, Goldie foils them after she 
takes a job in a night club. The big moment comes 
when the gang leader's gorillas are about to drop 
Alice's sweetie off a skyscraper. Enjoyment here 
depends upon three things, whether or not you like 
Alice, gangsters and cabarets. Miss White works 
hard, but the melodramatic machinery creaks consid- 
erably as the wheels go round. Just fair. 

Best — Alice White 




ONE ROMANTIC NIGHT 

United Artists 

Directed by Paul L. Stein. 
The cast: Alexandra, Lillian 
Gish; Prince Albert, Rod La 
Rocque; Dr. Nicholas Holler, 
Conrad Nagel; Princess Bea- 
trice, Marie Dressier; Father 
Benedict, O. P. Heggie; Count 
Lutzen, Albert Conti; Colonel 
Wunderlich, Edgar Norton ; 
Symphorosa, Billie Bennett; 
George, Phillippe De Lacy; Ar- 
sene, Byron Sage; Mitzi, Bar- 
bara Leonard. 



If you saw the delightful stage production of Ferenc 
Molnar's "The Swan," with its brilliant characteriza- 
tions by Eva Le Gallienne, Basil Rathbone and Philip 
Merivale, you are not going to like this screen version 
called "One Romantic Night." Briefly, it is the brittle 
triangular romance of a princess, a prince and a tutor. 
The two male roles are clumsily acted in the film ver- 
sion by Rod La Rocque and Conrad Nagel. Miss Gish 
is mild, intelligent and dignified. The hit is scored by 
Marie Dressier, who gallops away with the film as the 
princess' mother. This film is slender and rather un- 
satisfactory. The right directorial treatment is 
lacking. 

Best — Lillian Gish 





OLD AND NEW— Amkino 

Directed by Sergei Eisen- 
stein and Gregory V. Alexan- 
drov. Photography by Edward 
Tisse. No cast list available. 
Produced in U. S. S. R. by Sov- 
kino and released in America 
by Amkino. 



Because it was directed by Sergei Eisenstein, who 
made "The Cruiser Potemkin" and "Ten Days That 
Shook the World," this has significance to students of 
films. Eisenstein is looked upon as an important 
figure in pictures, although he has worked far away, 
in Soviet Russia. Like other Russian films, this is 
primarily propaganda. It was produced by the Soviet 
Government with the purpose of educating Russian 
farmers to the advantages of co-operation and modern 
agricultural machinery. The big moment comes when 
an imported American churn works — to the discom- 
fiture of the skeptics. Unless you are absorbed in 
screen technique, you will find this dull indeed. 

Best — Sergei Eisenstein 





How a Fourteen-Year- 
Old Failure Lifted Her- 
self to Film Success 



Act II 



Last month New Movie presented the first 
act of Lila Lee's colorful life drama. Lila Lee, 
who is just twenty-five, has been for twenty 
years an important figure in the vaudeville 
and screen world. In 1904 an immigrant 
couple from southern Germany came to New 
York. They were Charles Appell and his wife, 
Augusta. With them was a little girl in pig- 
tails, the four-year-old daughter, Margaret. 
In July, 1905, another daughter, Augusta, was 
born to the couple. Augusta Appell was des- 
tined to become Lila Lee. 

In 1910 Appell was boniface of a little hotel 
in Union Hill, N. J. Actors playing an adjoin- 
ing theater stayed at the hotel. Thus Gus Ed- 
wards came first to see little Augusta. A tiny 
girl in the act, "School Days," fell ill and Au- 
gusta was pressed into service. Thus the fu- 
ture Lila Lee made her stage debut. 

Augusta became part of the act, thanks to 
the interest and loving care of Mrs. Lillian 
Edivards. For six years Augusta was the lit- 
tle star of the act. She was billed as Cuddles, 
the child star. In 1918 Jesse Lasky, head of 
Famous Players-Lasky, came to Gus Edwards 
with an offer to star Cuddles in pictures. Her 
name was changed to Lila Lee. She made one 
picture — a flop. 



NOBODY likes to be labeled a failure. 
It's bad enough to take a polite little 
flop that nobody knows but yourself. 
But when everyone is looking on, when 
you have been hailed as a conquering heroine, 
then it becomes a real disaster. 

The child of fourteen who had been vaude- 
ville's pet as "Cuddles," and who had come 
to Hollywood touted as the greatest picture 
find in years, faced a definite failure when 
most girls are still going to high school, pro- 
tected and cared for and knowing no more 
serious heartache than a scolding or a quarrel 
with a girl friend. 

Moreover, Hollywood gave her a big laugh 
instead of the sympathy which she so sorely 
needed. 

p ROB ABLY no one meant to be unkind. 
*■ They hadn't grown to know Lila. She was 
simply a little upstart who had been elevated 

over the heads 
of many more 
worthy of suc- 
c e s s in their 
eyes. Her cold 
reception was 
due to the fan- 
fare of trumpets 
which greeted 
her entrance 
and which didn't 
make much of a 
hit with the 
hard-working 
girls who felt 



Lila Lee was exactly fourteen 
when she flopped as a child 
film star. Touted as the great- 
est screen find in years, her 
debut was a disaster. Facing 
a definite failure at the age 
most girls are going to High 
School, Lila Lee paused to 
take stock of herself. Then 
she began the fight all over 
again — and won. 



86 



Th 



Drama 

of 

LI LA 




By EVELYN GRAY 




that such importations were not to be encour- 
aged. 

After all, who was this infant, shipped out 
from New York and flung to the top without 
a day's preparations? What right had she to 
such preferment? Maybe she had been on the stage 
since she was five, but that didn't argue that she was 
a motion picture star. 

As a matter of fact, they were right. 

Lila Lee found herself unable to handle starring 
parts in motion pictures. Looking at it in retrospect 
that isn't so astounding. Camera work, particularly 
in those days, differed entirely from stage work. 
Moreover, when she worked in the Gus Edwards' 
"School Days," Cuddles had always played either her- 
self or some childish bit of fun-making pantomime. 
She had no acting technique, no knowledge of charac- 
terization. Also, she was at an incredibly difficult age. 
Too young for roles that included sex, too old for really 
childish parts. 

She should never have been forced to carry the name 
and the burden of a star so soon. 

But it was Lila herself who had to pay for the mis- 
take the producers made in forcing her ahead too 
fast. 

When, after one or two more half-hearted and very 
bad attempts to make starring pictures with Lila Lee, 
it was announced publicly that she was no longer on 
the Famous Players-Lasky roll of stellar names, the 
wise ones said "I told you," a lot of folks laughed, and 
every one agreed that the last had been heard of that 
young person. 

Girls didn't come back from such a flop as that. 

HP HE executives of the organization sent for Lila 
■*- Lee and explained the situation to her briefly and 
forcibly. Her contract was for five years but, like most 
Hollywood contracts, it was an option affair. It had 
to be renewed at the end of each year by the company. 
It called for Lila Lee to play star parts and nothing 
but star parts. 

Now this somewhat bewildered youngster, with her 
enormous eyes and the soft, dark cloud of hair down 
her slim young back, heard that, when the first year 
was up. the contract would not be renewed on that 



Lila Lee, the daughter of German immigrants, was a vaudeville 
favorite as a child. She was the Cuddles of Gus Edwards' 
"School Days." Then, at thirteen, she was signed for film stardom. 



basis. They would take up the option, but they 
wouldn't star her. 

If she wanted to stick around they'd try to find some 
parts for her. Eventually they might make something 
of her — just what they didn't say. Otherwise, the deal 
was off. She'd have to make up her mind. 

Lila went home to Minnie, the ever-faithful, ever- 
present Minnie, who had cared for and guarded and 
loved her in the theater when Mrs. Edwards could no 
longer be with her beloved Cuddles. Never has Holly- 
wood known such a chaperon as Minnie proved to be 
during those first years in Hollywood. No one ever 
got inside the door of Lila's house or her dressing- 
room without passing Minnie's eagle eye. If the girl 
had callers, Minnie sat in the next room. Anyone 
who invited Lila out to dine or drive found Minnie, 
arrayed in her best black, ready to accompany them. 

Now Lila wept on her shoulder and faced a pretty 
grown-up problem. They had been badly defeated in 
their attempt to take Hollywood by storm. Should 
they go back to New York and the stage, which knew 
Cuddles and would always headline her in vaudeville 
and musical shows? Or should they stay and fight 
it out here? Was it possible to live down such a 
failure? 

DRIDE told her to go back East. A certain very 
* definite bulldog determination, which has been ap- 
parent throughout her career, counseled her to stay. 

And there was another great pull toward the latter 
course. Whatever Hollywood thought of her, she loved 
Hollywood — the life, the people, the work. It seemed 
more real to her than any of the places she had visited 
in her nomadic childhood. Here one could have a real 
home, with a little garden and trees and sunshine, and 
make permanent friends, who didn't pass into mere 
memories when the train pulled out for the next town. 

Minnie never had any doubts. She told Lila that 
the things which made her Cuddles were still there. 
She was the same girl whose charm and personality 

87 



HOW C. B. DE MILLE SAVED LILA LEE FROM OBLIVION 




Lila Lee would have been forgotten had not Cecil De 
Mille given her the role of Tweenie in "Male and Fe- 
male." And, save for the encouragement of Tommy 
Meighan, she would have faltered then. 

had made Jesse Lasky give her that amazing star- 
ring contract back in New York. All she needed 
was experience and a chance and she'd be offered 
another chance to be a star. 

Minnie was right. Not many years later the 
same firm did offer to star her again. But love 
had come into her life then and 
at the dictates of love she re- 
fused it. 

When she had just about made 
up her mind to stay and begin at 
the bottom again, a message ar- 
rived. Cecil B. De Mille wanted 
to see her. 

No one who wasn't there can 
altogether picture what "C. B." 
meant in those early days. One 
mentioned his name with bated 
breath. He was the miracle 
worker, the star maker, the most 
awe-inspiring figure in the whole 
motion picture industry. In him 
began all the traditions of royalty 
which have since surrounded im- 
portant directors. His was the 
first palatial office, the first huge 
staff, the first complete power in 
a big organization. D. W. Grif- 
fith had, of course, been the whole 
works himself. 

Lila Lee was at the awkward age 
but Wallie Reid, out of good- 
ness of heart, made her his 
leading woman. Oddly enough 
his pictures with Lila Lee were 
his most popular. 

88 



'""pHE CHIEF," as everyone called him, was preparing 

■*■ to make "Male and Female." Gloria Swanson, who 
had just achieved stardom through "Don't Change Your 
Husband," and Tommy Meighan, the sensation of "The 
Miracle Man," were to be featured. 

Like dozens of other actresses before her, little Lila Lee 
approached the door of C. B.'s sanctum with a beating 
heart. She'd heard of. his biting tongue, his cold criticism, 
his impersonal appraisals. 

"I've never been so scared in all my life," she told me. 

In the mellow light of the famous stained glass windows 
which featured his office, C. B. sat behind his big desk. 
But instead of the hard and difficult ogre she had prepared 
to meet, she faced a kindly smile and a most courteous 
welcome. 

As a matter of fact, she must have looked very young 
and terribly frightened. 

"How would you like to play a part in my next picture?" 
he said. 

"I'd love it," said Lila Lee, and in those words com- 
mitted herself to motion pictures. 

A few days later she received a summons to the studio, 
to hear Jeanie McPherson read the script of the coming 
production. This was another innovation of De Mille's. 
Around him were gathered Miss Swanson, Mr. Meighan and 
the other members of the cast. 

The reading began. 

Lila was to play a part called Tweenie. Now in the story 
as it progressed (it was an adaptation of Barrie's "The Ad- 
mirable Crichton") there was a great deal about Lady 
Mary. A great deal about Crichton. About this one and 
that one. But very little about Tweenie. 

TITTLE by little the tears began to gather in Lila's eyes. 
■*— ' Why, it wasn't anything. Just a comedy bit. She 
didn't have half a dozen scenes — and just a little while ago 
she'd been a star. No one noticed her sitting by herself in 
the corner when the reading was finished. Everyone ap- 
plauded and congratulated Mr. Meighan and Miss Swanson. 
Lila just prayed none of the sobs that were choking her 
would escape. 

Then Tommy Meighan's eyes fell on her. She had never 
met him until that day. But it wouldn't have mattered to 
Tommy if he'd never met her. Any kind of distress was 
always a signal for Tommy's kindly {Continued on page 115) 




Th 
Poor 

Little 
RICH 
GIRL 



BY 

ANTOINETTE 

SPITZER 




ONCE there was a little girl who 
was very, very pretty. 
The gods were good to her! 
She had gorgeous red hair, not at 
all carrot-like, but pure titian; and lovely white skin. 
That wasn't all, either. 

She was extremely talented, too. 

There are some in this world who, like her, seem 
blessed. 

Whoever gazed at her fair face cried: 
"How beautiful I" 

But the pretty, little lady wasn't very rich. You 
know, like you and me and our friends. Not poor, but 
not especially affluent. And like you and me she be- 
moaned her fate because there were so many things she 
wanted to do and study, but she didn't have the money. 

IF only I were rich," she used to say all the live- 
long day. 

That was, of course, when she was just a little girl. 
When she grew up she made up her mind quite sud- 
denly that sitting before a fireplace and wishing for 
wealth wasn't going to get her anywhere at all. If she 
wanted to accomplish things she would have to go out 
and do them, at once. I don't think she had heard of 
the mountain and Mohammed at that time, but anyway, 
she came to certain conclusions along that very line. 

And so Hope Hampton, who is the heroine of this 
Cinderella yarn, went out into the world and did things. 

And how! 

It was hard work, this career business, but because 
she was determined she achieved success in the field 



Hope Hampton was a success in motion pictures. But she 
longed for new worlds to conquer — and turned to grand 
opera. Soon she is to appear in the talkies, where her charm- 
ing voice will be heard to splendid effect. 



she had chosen, which was the movies. And soon 
she wasn't as poor as she had been and she had earned 
all the dollars she had in the bank herself, by her own 
wits, and people applauded her success and gave her 
plenty of deserved credit. 

THEN she fell in love. 
And the man she fell in love with was Jules Brula- 
tour, the multi-millionaire. 

And when she became Mrs. Jules Brulatour every- 
one smiled and said: 

"Now she has everything." 

But apparently she didn't, for she wanted something 
more. More success. More personal achievement. 

Just as when she was a little, dreamy girl in Hous- 
ton, Texas, she made up her mind to be a motion pic- 
ture star and became one, so did she make up her mind 
to become a grand opera prima donna. But that ac- 
complishment did not bring the deserved acclaim at all, 
or at least not what she hoped for. 

And why? Hope frowns and says: 

"Because I've a rich husband, that's why. Every- 
thing I do since I've married is attributed to his money. 
Oh, it's mean." 

Poor, little, rich girl! 

Quite a different attitude from what present-day 
actresses take in this matter, isn't it? The majority of 
them are delighted and even (Continued on page 120) 



HOPE HAMPTON Finds Wealth a Handicap to Success 



89 



ran 



HAVE 



By 
Homer Croy 




AS I run my eye down 

/\ the table I see we have a 
J V visitor from out of town — ■ 

and quite a way out, too. In 
fact, all the way from the Argentine. 
She is Mona Maris, the Pride of the Pampas. 

But she wasn't always Mona Maris, for, when 
the Argentinian stork deposited her on the doorstep 
and went flapping away, they gave her the name of 
Maria Rosa Amita Capdevielle, which shows how help- 
less a child is. This remained her name for some time, 
as she was too young to do anything about it. But 
when the urge came for her to go on the stage, she 
looked about and picked out one to suit herself. 

As a child she had been called Mona, which in 
Argentinian means "little monkey," as you know. Mona 
had always been a lover of the sea, which in Spanish is 
"maris" and so she joined the two together, and thus 
"Mona Maris" was born without benefit of stork. 

This event, by the way, was November 7, 1907, and 
the exact place was Buenos Aires. 

Mona grew up on a rancho in the pampas and is as 
much at home on the hurricane deck of a broncho as 
most girls are in a hammock. As she was growing up, 
nothing gave her such delight as to clap on a pair of 
spurs, put on a sombrero and gallop across the pampas 
with the vaqueros, but now she lives in Hollywood and 
the most violent exercise she engages in is winding a 
wrist-watch. 

Sometimes, however, she yearns for the old strenuous 
life again and gets so worked up for it that she waves 
her maid aside and dials her own telephone. It just 
shows that however rich and famous you may grow 
you can never shake off childhood's first impressions. 

Just now the craze in Hollywood is to be able to 
speak many languages, and this is where the little girl 
from the big open spaces shines, for she can negotiate 
Spanish, French, Basque, German, Italian and English. 

No, boys, she is not married, although she could 
support a husband in 
the way that some Hol- 
lywood husbands de- 
mand to be supported. 
She lives all alone in the 
seventeen hundred block 
North Stanley Ave- 



on 



nue, Hollywood. Wire 
90 



The New Movies Ambassador Extra- 
ordinary, Homer Croy, presides at 
another big Hollywood Banquet 



early 
and often. 

So the next 
time you see Mona 
Maris, think of the little 
monkey from the Argen- 
tine who made good in Holly- 
wood like a hot tamale among 
Mexican railroad section gang. 

T ORETTA YOUNG: If you had dropped in 
■^at 6507 West Fifth Street, Hollywood, a few 
months ago and had observed the crowd filling the 
parlor and overflowing into the yard you would have 
said, "Um — look at all those men. The Tall Cedars of 
Lebanon must be having their annual meeting." 

But you would have been wrong, for it was the 
home of Mrs. George Belzer, and the sitting-room and 
the yard were cluttered up merely by the young men 
who had fought their way in to call on her daughters; 
or maybe you know them better by the name of Young. 
One of the girls the boys were swirling around was 
Loretta Young, and if you had seen her you would 
have said, "What a pitiful handful of men there is 
around her! — not more than twenty at most." 

Maybe there were so many of the girls because the 
family was from Salt Lake City, where another family 
also named Young did quite a business in the children 

line. Here Loretta was 
born, January 6, 1913. 
There were two other 
peaches on the same 
tree — Sally and Polly 
Ann — and the bud is 
Georgianna, now six 
years old. 



WITH US TONIGHT 



But one of the peaches has been snatched by Grant 
Withers, who has an eye for fruit. The peach was so 
young that he could not annex it in the state of Cali- 
fornia where the nasty old law says that a girl has to 
be seventeen years old before she can promise to obey. 
In Arizona a girl can promise to jump through at the 
age of sixteen. They promise that, but O lordy! how 
some of us men know they clean forget that part of 
the ceremony. In fact, it's come to such a pass these 
days that if a wife did actually obey you could throw 
a tent around her and charge admission. 

Grant took her to Arizona and now they are as happy 
as a Scotchman who has won a lottery prize. 

So don't disturb 'em. Even if you went to their house 
to call and knocked down their front door with a sledge- 
hammer they'd just think it was the wind rattling a 
leaf against the weather-boarding. 

(^ EORGE BANCROFT: We have a villain with us 
^tonight, and I will exhibit him in all his villainy. 

He is none other than George Bancroft, the highest- 
priced villain in the world. In spite of what the copy- 
books say, villainy pays, for George has a lovely house 



"«l 







Op 



at Santa Monica, and when he goes into his bank to 
make a deposit the president of the bank himself comes 
out and gives him the best cigar in his humidor. 

And it has all grown out of George's ability to laugh 
as he shoots a man down in cold blood. Off stage, he 
is just the opposite. He is so tender-hearted that if 
he has to set a mouse-trap he weeps all over the cheese. 
But when George shoots a man down, he chortles with 
glee and picks his teeth with a bowie-knife. 

George notched his first gun in Philadelphia, Septem- 
ber 30, 1882. When the nurse brought him in for the 
proud father to see, the little lad pasted him one in 
the eye and laughed in his face. No one at the time 
knew that some day the boy would get a hundred thou- 
sand dollars a year for doing it in front of a camera. 

And now what do you think the bad man's hobby is? 
It's raising delicate, exotic goldfish. It just shows that 
you can't be bad twenty-four hours a day, no matter 
how well it pays. One day, after shooting down four 
strong men and laughing uproariously as he dropped 
his gun back into its holster, he went home to find 
that the cat had eaten one of his Japanese goldfish and 
George was so wrought up that his wife had to give him 
aspirin. 

George has seen real men die, for he was a gunner 
on a battleship under command of Admiral George 
Dewey at the Battle of Manila Bay, and also he served 
in the Boxer Rebellion. "It made me sick to see real 
men die," he says — and then he will put on his make-up 
and bump them off as if he were the Pride of Chicago. 

The apple of his eye is his daughter, Georgette, 
named in honor of her bloodthirsty father, who is 
twelve years old. If she finds a splinter in her finger 
he rushes to the telephone and calls three doctors and 
two nurses and begs them to save her. 

So that's the kind of a man we have with us tonight. 
Get up, George, and fire away. 

{Continued on page 129) 




DRAWING 

BY 
HERB ROTH 



Reading across The New Movies banquet table 
from left to right you will find : Mary Brian, Mr. 
Croy himself, Loretta Young, Betty Compson, 
George Bancroft, Mona Maris and George 
O'Brien. NEW MOVIE'S own jazz orchestra is pro- 
viding music at the upper left. 



91 



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Just a Movie 
PREMIERE 

But it drew the largest crowd ever seen in Holly- 
wood. The event, by the way, was the opening 
of Howard Hughes' $4,000,000 air spectacle, 
"Hell's Angels." For some fifteen blocks, from 
Vine Street to La Brea, the streets and sidewalks 
were jammed. It required an hour to work a car 
through the crowds to the entrance of Graumann's 
Chinese Theater. Everybody of note was there — 
announced by a loud speaker to the crowds. 




92 



mm 



mi 



urns 



^^ 






^r'QLiSs / 



Hollywood Boulevard was 
as light as day, for Mr. 
Hughes had placed huge 
sunlight arcs every fifty 
feet. In the sky above, 
squadrons of airplanes 
hovered, picked up by 
giant searchlights. New 
Movie caught some of the 
notables. Across the page: 
Bebe Daniels and Ben 
Lyon while Mary Brian 
is speaking into the micro- 
phone. Below, Ann Hard- 
ing and her husband, 
Harry Bannister. Right: 
Gloria Swanson. At the 
far right, Jean Harlow, 
the heroine of the film, 
" Hell's Angels." 






m- 



:&**<- 



Special Photographs 

for NEW MOVIE by 

Stagg. 



Several millions of dollars in jewels were present at the 
premiere. The gowns represented a fashion parade. This 
was the highwater mark in Hollywood openings. Among 
the other notables present were Mary Pickford, Maurice 
Chevalier, Charlie Chaplin, Harold Lloyd, Gary Cooper, 
Janet Gaynor, Charles Farrell, Clara Bow, Lon Chaney, 
John Gilbert and Ina Claire, Joan Crawford and Doug 
Fairbanks, Jr., and Mr. and Mrs. Richard Barthelmess. 



93 



GUIDE to the BEST FILMS 

Brief Comments Upon the Leading Motion Pictures 
of the Last Six Months 




Louis Wolheim and Lewis Ayres in a graphic Flanders Fields scene of Universal's 
sensational "All Quiet on the Western Front." 



Group A 

Journey's End. One of the best war pictures yet pro- 
duced. Splendidly acted by 
Colin Clive and Ian Mac- 
Laren. Plenty of emotional 
effectiveness, punch and 
action. Tiffany Produc- 
tion. 

All Quiet on the Western 
Front. Here is a grue- 
some and bloody picturiza- 
tion of Remarque's detailed 
reaction to the World War. 
It is ghastly in its truth 
and is an everlasting ser- 
mon against war and its 
futility. Universal. 

Sarah and Son. Ruth 
Chatterton in another 
"Madame X" of mother 
love. This will surely get 
your tears and hold your 
interest. Paramount. 

Song O' My Heart. John 
McCormack makes his 
screen debut in this 
charming drama, in which 

Norma Shearer and Chester 
Morris are about to be inter- 
rupted in a romantic pastoral 
moment of "The Divorcee." 
Miss Shearer gives an excel- 
lent performance. 

94 



The Green Goddess. 

George Arliss, this time 



his glorious lyric tenor is 
superbly recorded. He does 
eleven songs. The story is 
expertly contrived to fit the 
world-popular Mr. McCor- 
mack. Fox. 

The Vagabond King. 
Based on "If I Were King," 
this is a picturesque musi- 
cal set telling of Frangois 
Villon's career in the days 
of Louis XI. Dennis King 
and Jeanette MacDonald 
sing the principal roles, but 
0. P. Heggie steals the film 
as Louis XL Paramount. 

Street of Chance. The 
best melodrama of the 
year. The story of Natural 
Davis, kingpin of the un- 
derworld and Broadway's 
greatest gambler. Corking 
performance by William 
Powell, ably aided by Kay 
Francis and Regis Toomey. 
Paramount. 

The Rogue Song. A great 
big hit for Lawrence Tib- 
bett, character baritone of 
the Metropolitan Opera 
House. The tragic romance 
of a dashing brigand of 
the Caucasus, told princi- 
pally in song. Based on a 
Lehar operetta. Metro- 
Goldwyn. 
Another fine performance by 
as the suave and sinister Raiah 





Alice White as Dixie Dugan in the further adventures of "Show Girl," released under the title of "Show Girl in 
Hollywood." Miss White gives a piquant characterization of the lively Dixie. 



of Rokh, who presides over a tiny empire in the lofty 
Himalayas. You'll like this. Warners. 

Anna Christie. This is the unveiling of Greta Garbo's 
voice. 'Nough said. It's great. We mean Greta's 
voice. Be sure to hear it. Metro-Goldwyn. 

Devil May Care. A musical romance of Napoleonic 
days, with Ramon Novarro at his best in a delightful 
light comedy performance. Novarro sings charmingly. 
This is well worth seeing. Metro-Goldwyn. 

Lummox. Herbert Brenon's superb visualization of 
Fannie Hurst's novel. The character study of a kitchen 
drudge with Winifred Westover giving a remarkable 
characterization of the drab and stolid heroine. A little 
heavy but well done. United Artists. 

The Love Parade. The best musical film of the year. 
Maurice Chevalier at his best, given charming aid by 
Jeanette MacDonald. The fanciful romance of a young 
queen and a young (and naughty) diplomat in her ser- 
vice. Piquant and completely captivating. Paramount. 

The Show of Shows. The biggest revue of them all — 
to date. Seventy-seven stars and an army of feature 
players. John Barrymore is prominently present and 
the song hit is "Singin' in the Bathtub." Crowded with 
features. Warners. 

Welcome Danger. Harold Lloyd's first talkie — and a 
wow! You must see Harold pursue the sinister power 
of Chinatown through the mysterious cellars of the 
Oriental quarter of 'Frisco. Full of laughs. Paramount. 

They Had to See Paris. A swell comedy of an honest 
Oklahoma resident dragged to Paris for culture and 
background. Will Rogers gives a hilarious performance 
and Fifi Dorsay is delightful as a little Parisienne 
vamp. Fox. 

The Trespasser. A complete emotional panorama with 
songs, in which Gloria Swanson makes a great come- 



back. You must hear her sing. Gloria in a dressed-up 
part — and giving a fine performance. United Artists. 

Sunny Side Up. Little Janet Gaynor sings and dances. 
So does Charlie Farrell. The story of a little tenement 
Cinderella who wins a society youth. You must see 
the . Southampton charity show. It's a wow and no 
mistake ! Fox. 

The Lady Lies. In which a lonely widower is forced to 
choose between his two children and his mistress. Dar- 
ing and sophisticated. Beautifully acted by Claudette 
Colbert as the charmer and by Walter Huston as the 
widower. Paramount. 



Group B 



Paramount on Parade. A series of specialties con- 
tributed by the company's various stars. Pretty dull 
entertainment. Kept alive by M. Chevalier who, with 
Evelyn Brent, furnishes one of the best bits in "The 
Birth of the Apache." Paramount. 

Show Girl in Hollywood. Remember Alice White as 
Dixie Dugan in "Show Girl"? Well, this is her further 
adventures, showing the trials and tribulations of a 
newcomer seeking a break in pictures. Don't miss it. 
First National. 

The Divorcee." Based on Ursula Parrott's "Ex-Wife." 
Norma Shearer gives a striking characterization and is 
ably supported by Chester Morris, Robert Montgomery 
and Conrad Nagel. Metro-Goldwyn-Mayer. 

Montana Moon. Presenting Joan Crawford as the 
spoiled daughter of a ranch-owner. She marries a cow- 
boy and then decides to go her own way in New York. 
There is a song hit, "The Moon is Low." Metro- 
Goldrvyn-Mayer, 

95 



Photograph by Hurrell 



LON 
CHANEY 



The Man of a Thousand Faces returns to the screen with four voices. He again 

is playing the sinister Professor Echo in "The Unholy Three." This time, however, 

"The Unholy Three" is a full-fledged talkie with Lon speaking for the first time. 

Indeed, Chaney is a whole quartet in this interesting film . 



96 



The Hollywood Boulevardier 



stars as well as among writers both 
in Hollywood and New York. He is 
popular with stars because he is always 
willing to turn his back to the camera 
(it's his homely voice as much as his 
homely face that puts Stu over) and 
because he would rather tell the world 
about Gary and Buddy and Clara Bow 
than talk about himself. He is pop- 
ular with writers because he is per- 
fectly willing to sit back and let them 
talk about themselves and because he 
has off screen the same homely obser- 
vant humor that he has on. Stu is the 
sort of person you delight in recom- 
mending, a comic valentine among lacy 
painted hearts. 

Happily Married Divorcee — You note 
I love to dwell on the irony of Holly- 
wood. For instance, there's Norma 
Shearer, happy spouse of Irving Thal- 
berg, coming to triumph in "The Di- 
vorcee." Norma is one of those un- 
cannily smart, witty and charming 
women who know what they want and 
get it. And you are glad she does. 



(Continued from page 58) 

Just the same I was a little surprised 
to read: "First public showing of Nor- 
ma Shearer's 'The Divorcee' aboard 
the S.S. Leviathan is sensational. Six 
hundred press and public officials de- 
clare it greatest talkie yet made!" 

Good Intentions Rewarded — I am re- 
minded that, on the eve of the talkies, 
Jack Gilbert said it was his heart's de- 
sire to help Greta Garbo speak lines. 
Hence it is good to read that Dr. Mara- 
fioti, the voice coach, says that Jack 
can make good in the talkies "with care 
and training." 

Talkie Pasts — The talkie has been 
dragging out pasts in a shameful way. 
In order to prove their vocal ability 
stars have been confessing to all sorts 
of things. I'm not one who believes 
that fans should be protected against 
disillusionment. Just the same I shall 
never quite overcome the fracture sus- 
tained by the news that Wally Beery 
was once a Broadway chorus man. For- 
tunately there is such a thing as the 



power of mind to shut off things that 
undermine faith. And so with stopped 
ears I shall go on thinking of Wally 
as bull man for Ringlings' circus, nurse- 
maid to the elephants. 

No Ghosts Admitted — You no doubi; 
read that Valentino's haunted house, 
Falcon Lair, is now inhabited by Harry 
Carey. The other day a flushed fat lady 
appeared at the gates and was stopped 
by Harry's colored chauffeur. The lady 
loudly demanded admittance. 

"I have an appointment with Mr. 
Valentino," she cried. 

"Go on!" said the colored man, his 
eyes bulging. "Mr. Valentino am dead." 

"I have an appointment with him," 
insisted the large lady. "It is his anni- 
versai'y and the spirits say I will meet 
him here." 

"You mean a ghost am comin' round 
here?" gasped the colored man. 

"Yes," said the lady, "his spirit." 

"Not while I'm here, lady!" shrieked 
the shuddering Negro slamming the 
gates. "Not while I'm here!" 




Gossip of the Studios 



ART GOEBEL, the best aviator in 
Hollywood, who already has to 
his credit a little non-stop jaunt from 
San Francisco to Honolulu, is going 
after another record. This one from 
Paris to New York. He and his plane, 
a Lockheed monoplane, left Hollywood 
for Paris the first part of June, and 
Art expects to jump off as soon after 
he reaches Paris as the weather will 
permit. No man has as yet succeeded 
in making that Paris to New York 
jump. Hoot Gibson, saying goodbye to 
Art, turned away and had tears in his 
eyes. "Too many of 'em have hopped 
off on that one and not come back," he 
said. 

Ruby Keeler, wife of Al Jolson, was 
given a test by United Artists, and it 
looks very, very good. 

JUNE COLLYER again is given a 
compliment. When Prince George 
was here he was more than attentive 
to June. In fact, she was the only one 
in Hollywood to be given such atten- 
tion by the Prince. And now Baron 
Rothschild comes with the avowed in- 
tention of looking the girls over — and 
says that after many looks he thinks 
June is the loveliest of the lot. 

KENNETH HARLAN, who used to 
be married to Marie Prevost, was 
recently wed to Doris Hilda Booth, of 
Somerville, Mass. Saw Ken and his 
blonde bride dancing at George Olsen's 
the other evening, while Buster Collier 
and Marie sat at a ringside table. Com- 
plications like that are getting more 
and more frequent in Hollywood. 

Golf is played by more actors in Hol- 
lywood than is any other sport. 



(Continued from page 18) 

EAST is East and West is West and 
never the twain shall meet." That's 
an old saying now, but New York has 
certainly moved to Hollywood these 
talkie days with a vengeance. Stage 
stars are to be seen on every hand. 
William Collier, Sr., Florenz Ziegfeld 
and Billie Burke, Ina Claire, Elsie Fer- 
guson, Mrs. Patrick Campbell, Mrs. 
Leslie Carter, Marilyn Miller, Irene 
Delroy, Grace Moore, Beatrice Lillie, 
Ruth Chatterton, Al Jolson, John Bar- 
rymore, Laura Hope Crews, Helen 
Ware, Evelyn Laye, Barbara Stanwyck, 
Ann Harding, Claudette Colbert, Louis 
Wolheim, Eddie Cantor, Walter Catt- 
lett, Leon Errol, Louise Dresser, Marie 
Dressier, Otis Skinner and Maurice 
Chevalier have all had their names in 
electric lights on Broadway. 

There are more weighing machines 
in Hollywood homes than anywhere 
else in the world — of equal population. 
Reason: the camera shows a pound 
taken off or taken on and the boys and 
girls must be careful. 

Jack Mulhall and Elsie Janis spent 
an entire evening in a corner at Sadie 
Murray's party for Bebe Daniels the 
other night discussing old days in 
France. Few people know that Jack 
had a wonderful ivar record. 

"There's no one like Elsie Janis," 
Jack said later. "You remember that 
General Pershing said Elsie Janis was 
worth a whole army division in any 
war — and an army division is over 
27,000 men." 

A SPANISH fiesta, copied exactly 
from the old days of early Cali- 
fornia, was given by Mr. and Mrs. 



Frank Lloyd on Sunday at their ranch 
home near Whittier. A Spanish chef 
barbecued whole beeves, there were tor- 
tillas, tamales, real Spanish beans and 
all sorts of Spanish dishes. The hon- 
ored guests were Mr. and Mrs. Rich- 
ard Barthelmess. Frank has directed 
Dick Barthelmess in a number of his 
recent pictures, including "Son of the 
Gods," which is breaking box-office 
records. 

The seating at large Hollywood din- 
ner parties is getting very complicated. 
Heard a long argument the other after- 
noon as to whether Mr. and Mrs. Doug- 
las Fairbanks (Mary Pickford) should 
rank Mr. and Mrs. Louis B. Mayer at 
a party connected with the opening of 
a Metro-Goldwyn-Mayer picture. Might 
be a good idea to get some English ex- 
pert to make out a Hollywood Peerage. 
But then it wouldn't help, because stars 
come and go too quickly in this busi- 
ness. 

EVERYONE in Hollywood is busy 
these days writing round-robin let- 
ters to Wilson Mizner, who is ill at the 
Monterey Hospital. The old Brown 
Derby doesn't look quite natural with- 
out Bill's face, and certainly the con- 
versation lacks the inspiration it al- 
ways received from his wit as he 
strolled from one table to another. 

THE first Annual Motion Picture 
Tennis Tournament has been in 
progress at the Los Angeles Tennis 
Club. 

Strong teams in the mixed doubles 

who are approaching the finals ai - e 

Teddy von Eltz and Catherine Bennett, 

George Archainbaud and Eileen Percy, 

(Continued on page 102) 

97 





AIDS to BEAUTY 



Mary Lewis Turned Reducing 
Into a Health Regime 

By ANN BOYD 



THE picture on 
this page is of 
Mary Lewis, 
about whose 
valiant fight with 
avoirdupois you have 
probably read. Miss 
Lewis, you know, was 
once a bathing girl in movie comedies. Then she came 
to New York, went into the chorus of the "Follies" and 
finally, by grace of an exceptionally fine voice, became 
a musical comedy singer. 

At this point, Miss Lewis's teachers discovered that 
she had a voice of grand opera caliber and she de- 
parted for Europe to study. She returned and made a 
splendid debut at the Metropolitan, and she was, to 
all appearance, done with the movies. But then, when 
the talking films came along, Miss Lewis had a chance 
to return to the screen, not as a bathing girl but as a 
star. 

WHAT has all this to do with an article on beauty? 
Well, it happens that while Miss Lewis was gain- 
ing her voice, she was also gaining weight. The 
prima donna who wanted to return to the screen was 
no longer the slim bathing girl. Miss Lewis's producers 
hinted that, if she wanted to succeed in pictures, she 
had better lose plenty of weight. And Miss Lewis was 
up against a much harder problem than the average 
woman who must reduce. You see, there is an un- 
written law in singing circles that a singer must be 
stout, she must have a large physique to withstand the 
physical hardships of operatic work, she must have a 
good-sized body to act as a sounding-board for her 
voice. 

.98 



The average woman 
may lose weight hast- 
ily because she usu- 
ally has no voice to 
endanger. She is even 
free to trifle danger- 
ously with her health 
because, as she falsely 
reasons, her livelihood doesn't depend on her being in 
the pink of condition. 

But Miss Lewis had to reduce wisely and under the 
direction of a physician. She could not afford to swal- 
low all those mysterious pills which are guaranteed to 
make the pounds roll off. Neither could she adopt one 
of those diets which say that the victim may be made 
gorgeously thin if she lives for three weeks on hard- 
boiled eggs and water-cress. 

1V/TISS LEWIS'S reducing regime was also a health 
*■**■ regime. She continued to eat — almost as much as 
she had eaten before. She had her three meals a day. 
But all the fattening foods were eliminated from her 
diet. And she had to exercise. But, very wisely, in- 
stead of going in for strenuous indoor gymnastics, she 
took up golf and played in the open air. Incidentally, 
she got a great deal of pleasure from her golf, which 
is more than can be said for those indoor exercises. And 
she engaged a competent masseuse to roll away the 
pounds that, in face of her diet and exercise, were ready 
to melt away. 

You will see that Miss Lewis went in for balanced 
reducing; that is to say, she didn't rely entirely on diet, 
or on massage or on exercise. One of these factors 
alone will not be effective. For instance, many women 
make the mistake of going on (Continued on page 113) 



The New Movie Magazine 






ea 



J 



your washday jortune 
in your nana . . . 




"\7"OU don't have to be an 
*- expert palmist. Just study 
the hand shown here and see 
how frankly it reveals its 
washday story. 

The strong, capable palm indicates an 
energetic, self-reliant woman — the kind 
who directs her own housework. The shape- 
ly fingers show a love of the beautiful — 
pride in having her clothes a little cleaner 
than any one else's. The unbroken life line 
predicts many years of happiness because 
she gets things done with the least exertion. 
And the well-defined head line tells that 
she's thrifty — that she knows a bargain in 
value when she sees it. 

You would expect a woman like this to 
use Fels-Naptha. And if you could actually 
see her hand, you would know she does! 

For her hands haven't that in-the-vvater 
look. That's because Fels-Naptha washes 
clothes clean without hard rubbing, and be- 




cause it does this so quickly 
that she doesn't have to keep 
her hands in hot water so long. 
The reason Fels - Naptha 
works so quickly is that it is 
good soap and naptha. Plenty of naptha — 
you can smell it. These two cleaners, 
working hand-in-hand, remove even stub- 
born dirt, swiftly and easily, without hard 
rubbing. 

Fels-Naptha is one soap you don't have 
to pamper. Naturally it works best in hot 
water — all soaps do. But Fels-Naptha also 
works beautifully in lukewarm or even 
cool water. So wash any way you please — 
you can be sure that Fels-Naptha will give 
you extra help. 

Get Fels-Naptha at your grocer's. Use it 

FELS-NAPTHA 

THE GOLDEN BAR WITH 

THE CLEAN NAPTHA ODOR 



for household cleaning, too. Then your 
hands and home and clothes — and you — 
will all proclaim your good fortune! 

SPECIAL OFFER — Whether you have been using 
Fels-Naptha for years, or have just now decided to try 
its extra help, we'll be glad to send you a Fels-Naptha 
Chipper. Many women who prefer to chip Fels-Naptha 
Soap into their washing machines, tubs or basins find the 
chipper handier than using a knife. With it, and a bar of 
Fels-Naptha, you can make fresh, golden soap chips 
(thatcontain plenty of naptha l) just as you need them. 
Mail coupon, with a two-cent stamp enclosed to cover 
postage, and we'll send you this chipper without fur- 
ther cost. Here's the coupon — mail it nowl 

© 1930. Fels & Co. 



T.N.M.-S-30 
FELS & COMPANY, Philadelphia, Pa. 

Please send me the handy Fels-Naptha Chipper 
offered in this advertisement. I enclose a two- 
cent stamp to cover postage. 

Name - — 



Street- 



City 



. State. 



Fill in completely — print name and addrcBS 



99 



The New Movie Magazine 




ho made SUNNY SIDE UP the most popular 
motion picture of the past year? 

YOU did —with the tickets 

you bought at the box offices all 
over the country .... Who made 
THE COCKEYED WORLD the run- 
ner-up ?.... YOU again — with 
your spontaneous approval, registered by cash paid for tickets at the 
box office, of the rough and ready wit and humor of McLaglen and Lowe. 
.... Who were the year's favorite actor and actress? .... Janet Gaynor 
and Charles Farrell, overwhelmingly voted the most 
popular in polls conducted by both the Chicago 
Tribune and the New York Daily News, the two largest 
newspapers in their respective cities. — Who won 
the coveted Photoplay Gold Medal for the past two 
years ? . . . FOX— last year with John Ford's FOUR SONS 
— year before last with Frank Borzage's 7th HEAVEN. 
....Who cast the winning ballots for Gaynor and 

Farrell ? . . . . Nobody but YOU Who has already 

decided what kind of pictures we will produce and 

leading houses everywhere will feature 
during the coming year? . . . .YOU, of 
course — because you have, in terms 
that can't be mistaken, placed your ap- 
proval on what FOX has done in the 

past and told us what you like Will 

you get it? ... . Look at this line-up of 
new productions now on their way to 
you! .... Janet Gaynor and Charles 
Farrell in OH, FOR a man! — another sure-fire hit, 
produced under the masterly direction of the 

man who made SUNNY SIDE UP, David Butler 

McLaglen and Lowe chasing WOMEN OF all 
NATIONS — in the further rollicking adventures of 
Flagg and Quirt — from the story by Laurence 
Stallings and Maxwell Anderson, authors of 
what PRICE GLORY. Direction by Raoul Walsh. 
What a line-up!.... Charlie Farrell in his greatest part of all, as Liliom, 







SIXTY 



OTHERS 




BE 



100 



The New Movie Magazine 




AND 




MILLION 



CANT 



WRONG 




in DEVIL WITH WOMEN, from Franz Molnar's 
international stage success .... And Charlie 
will also entertain you in three other great 
pictures during the year — THE MAN WHO 
CAME BACK, with Louise Huntington; THE 
PRINCESS AND THE PLUMBER, with Maureen 
O'Sullivan, the find of the year; and SHE'S 

my girl, with Joyce Compton In UP the 

river, a new kind of prison story, John Ford 
is striving to surpass his own Photoplay Gold 
Medal winner, FOUR SONS. In this picture appears Cherie, daughter of 
Warden Lawes, and a great cast of established rt f 
screen favorites .... Frank Borzage, Gold Medal 
winner of the previous year, will give you four great 
pictures — SONG O* MY HEART, introducing to the 
screen the golden voice and vibrant personality of 
the great Irish tenor, John McCormack — two of 
Charlie Farrell's new pictures, THE MAN WHO CAME 
BACK and DEVIL WITH WOMEN-and ALONE WITH YOU, 
in which Janet Gaynor will insinuate herself still 
more deeply into your affections . . . .The honor most 
coveted by the motion picture actor is the annual award of the Academy 
of Motion Pictures. Warner Baxter is the latest recipient of this honor — 
won by his magnificent characterization of the Cisco 
Kid in IN OLD ARIZONA. Warner, lovable bandit and 
idol of the feminine heart, will give you four big 
pictures .... If you saw Will Rogers in THEY HAD 
TO SEE PARIS, or SO THIS IS LONDON, you will cheer the 
announcement of two more pictures by America's 
incomparable comic: A CONNECTICUT YANKEE, 
perhaps Mark Twain's funniest story, and 
SEE AMERICA FIRST .... DeSylva, Brown and 
Henderson — the Gilbert and Sullivan of 
our day — will follow their smash success, 
SUNNY SIDE UP with JUST IMAGINE, clever, 
gay, tuneful and funny. The cast will be headed by Maureen 
O'Sullivan and El Brendel .... We made the pictures — but YOU 
asked for them — and you and sixty million others can't be wrong! 







101 



mm 



Looking Into the Stars' Salary 

Envelopes 



Colman, $5,000; Edmund Lowe, $3,000; 
William Haines, $3,500; Wallace Beery, 
$3,500. 

The first of the Hollywood clan to 
feel the effects of this wholesale im- 
portation of footlight talent were the 
second string film players not under 
contract to any particular studio. As 
free-lance artists they move from studio 
to studio and ordinarily are able to 
pile up a substantial income during 
the year. In many instances, in fact, 
free-lance players have made more 
profit during a twelve months' period 
than the average contract player. The 
talkies changed all this, however. When 
outside artists were needed the studios 
now engaged Broadwayites. 

Thus, such screen favorites as Ken- 
neth Harlan, John Bowers, Harrison 
Ford, Mae Busch, Marguerite De La 
Motte, Robert Frazer, Jacqueline 
Logan, Helene Chadwick and Ricardo 
Cortez, who had been able to consist- 
ently earn $1,500 a week, suddenly 
found little demand for their services. 
This despite the fact that they had 
been given no opportunity whatsoever 
to show whether they were suited to 
the talkies or not. Today the earnings 
of most of these players have been cut 
in half. 

Much the same situation applies to 
Antonio Moreno, Bert Lytell, Conway 
Tearle, Blanche Sweet, Anita Stewart, 
Viola Dana and Irene Rich, who were 
in such demand before the arrival of 
the sound cinema that they were able 
to command $2,500 every payday. 
Today many of these players are 
rated at the $1,500 mark, with film 
jobs few and far between. Such fa- 
vorites as Bert Lytell, Eugene O'Brien, 
Leatrice Joy and Estelle Taylor have 
been able to hold their yearly incomes 
up to a good level by deserting the 
movies and touring the country in 
vaudeville or regular dramatic stage 
plays. They refused to take the Holly- 
wood salary cuts as a permanent fix- 
ture and surprised the film colony by 
establishing themselves as drawing 
cards in the footlight realm. 

MANY of the big stars of the silent 
drama days have already been 
dealt a hard financial blow by the new 
dialogue era; others have been able to 
avoid the salary slash temporarily or 
divert it completely. It has been 
largely a case of the qualifications of 
the individual player and the kind of 
contract held with the studio. 

The quartet which has probably felt 
the paymaster's axe more keenly than 
any other stars in filmland numbers 
Colleen Moore, Tom Mix, Thomas 
Meighan and Corinne Griffith. In the 
days of the good old silent drama these 
four favorites were undoubtedly among 
the most highly paid celebrities in the 
screen world. Colleen was earning ap- 
proximately $12,000 a week, Tommy 
Meighan $10,000, Corinne Griffith 
$7,000, while Tom Mix was drawing 
down the tidy sum of $15,000 every 
Saturday. 

Colleen Moore made two talking pic- 
tures just before her contract expired 

102 



{Continued from page 29) 

with First National. Her contract was 
not renewed by First National and, de- 
spite the fact that a year has passed, 
Colleen has not signed with any other 
company. Tom Mix is now forced to 
draw his income from the circus 
game. Corinne Griffith has concluded 
her contract with First National. 
Thomas Meighan, long one of America's 
foremost screen idols, had the poorest 
year of his career in 1929. 

DURING the past year the big 
studios have been trying out their 
old contract players in the talkies in 
an effort to determine which of these 
players appear to have possibilities 
in the sound cinema. Because of this 
experimental attitude on the part of. 
the producers many holdovers from 
the silent picture era have been able 
to maintain their regular salary stand- 
ards, notwithstanding the fact that as 
conditions exist today in the film col- 
ony these players would be unable to 
exact the same high pay check from 
other studios should they lose their 
present contracts. 

John Gilbert, for instance, who has 
disappointed his followers in the 
talkies, is drawing more salary today 
than when he was the most popular 
male star on the silent screen. Just 
before the advent of the talkies came 
into full swing Gilbert's contract with 
M.-G.-M. expired. At that time his 
salary was said to be $5,000. Upon 
signing a new studio agreement, how- 
ever, Gilbert was given a raise which 
is now reported to be netting him 
close to $7,000 a week. 

Joan Crawford, Conrad Nagel, Doro- 
thy Mackaill, Alice White, Fay Wray 
and Loretta Young are today drawing 
more money than before the installa- 
tion of sound. Three years ago these 
players were getting approximately the 
following weekly salaries: Joan Craw- 
ford $500, Conrad Nagel $2,000, Doro- 
thy Mackaill $1,000, Alice White $300, 
Fay Wray $200 and Loretta Young 
$100. Today their weekly pay checks 



are rated at: Joan Crawford $2,500, 
Conrad Nagel $3,500, Dorothy Mackaill 
$2,500, Alice White $1,500, Fay Wray 
$1,000, Loretta Young $875. 

More mystery surrounds the salary 
of Greta Garbo than that of any other 
player. Greta was originally imported 
from Europe at the low weekly pay 
check of $350. After the big suc- 
cess scored in her early pictures, 
M.-G.-M. gave her a new contract 
at a higher figure. Since then her 
salary has steadily mounted until to- 
day she is said to be getting $6,000. 
Clara Bow, long the biggest box- 
office attraction for Paramount, is get- 
ting only $4,000, a comparatively low 
figure in view of her popularity. This 
is explained by the fact that when she 
started with Paramount it was at a 
lower salary than that received by 
most stars of her magnitude. 

Here are a few miscellaneous 1930 
salary figures: Lila Lee $1,500, Wil- 
liam Austin $750, Neil Hamilton 
$1,250, Fredric March $1,500, Grant 
Withers $350, John Miljan $750, Joe 
E. Brown $1,800, Betty Compson 
$3,500, Jack Oakie $1,000, Otis Harlan 
$1,000, Mary Brian $800, William 
Boyd $1,500, Robert Armstrong $1,500, 
Regis Toomey $500, Thelma Todd $750, 
Nils Asther $1,500, Kay Johnson $750, 
Lois Moran $2,000, and Lewis Ayres 
a mere $125. 

Nineteen hundred and thirty will un- 
doubtedly be a hard year on the ma- 
jority of screen favorites, as there is 
now a concerted campaign on the part 
of many of the big studios to release 
most of their players and cast them on 
the free lance field. The object of this 
move is to bring about a general reduc- 
tion in pay checks, which the producers 
believe will net the studios a huge sav- 
ing in the course of a year. Also, many 
of the players whom the studios have 
retained under contract for tryout 
purposes, will have proven unsuccess- 
ful for talking picture work and will 
no longer be in demand. 
It's a bad year for Hollywood players. 



Gossip of the Studios 



{Continued from page 97) 



Ben Lyon and Lou Rawson, Solly Biano 
and Mrs. Gregory La Cava. 

In the men's singles, Allan Dwan, 
Matt Moore, Cedric Gibbons, Teddy 
von Eltz, Charlie Lederer, George 
Archainbaud and Ben Lyon were prom- 
inent. Anyone who is regularly em- 
ployed by the industry is eligible. 

In a private tournament recently 
given by Marion Davies, the women's 
singles were won by Eileen Percy, with 
Catherine Bennett as her opponent. 
Alex Bennett, younger brother of Enid 
and Catherine, won the men's singles 
from Jules Glaenzer of New York. 
Charlie Lederer and Anita Murray won 
the mixed doubles from John Gilbert 
and Marion Davies. 



GLORIA SWANSON has taken Mr. 
and Mrs. Frank Case's house at 
Malibu Beach for the summer. She 
wants Gloria II and her small son to 
have the beach air for a few months. 

Ralph Forbes and his wife, Ruth 
Chatterton, have taken Anna Q. Nils- 
son's house until September and will 
spend as much time there between pic- 
tures as they can. Ralph just re- 
turned from the high Sierras and 
brought with him a tiny timber wolf 
cub, which he intends to train as a pet. 

GEORGE HILL, the director, and 
his bride, Frances Marion, the sce- 
nario writer, have gone to China for an 
extended trip. 



The New Movie Magazine 



They gave a/7£r 



tin 



THAT'S WHY THEY COT THERE. ...SO QUICKLY 




ELINOR SMITH 

Eighteen years old . . . and she's risen 
higher than any other woman in all 
world history. "Born with wings," say 
hard-boiledpilots.' r Thekid'sa r naturar 
when you put her in a plane. " 

But there's another young ace with 
that same story. 

old gold hopped off just three years 
ago. In less than three months it 
zoomed into favor. In one short year 
it had climbed to the ceiling. Today, 
it holds the coast-to-coast record . . . 
as America's fastest growing cigarette. 

For, OLD GOLD, too, is a natural flyer. 
Made of better tobaccos. Endowed by 
nature with a new taste-thrill. Free 
from irritants. More smoke pleasure. 
Greater throat-ease. 

OLD GOLD, too, was "born with wings." 



"Please, Mister, c'n I fly it?" 

At the crack of dawn, while her 
family still slept, this 15-year-old 
kid took forbidden flying lessons. 
"The Boys" used to call her "the 
headless pilot." She couldn't even 
see over the edge of the cockpit. 



ON OCTOBER 24, 1926, the first carload of 
OLD GOLDS reached the Pacific coast 
. . . endless trainloads have been going 
westward ho ever since . . . with nary a 
cough in a carload. 



BETTER TOBACCOS 



NOT 



COUGH IN A CARLOAD 



103 



Kffi 



Dollar Thoughts 



But This Writer Likes Her Voice 

Oil City, Pa.— 

I think Greta Garbo's voice was great 
in "Anna Christie." It sounds as if 
it is a voice that can be changed to 
suit the character she is playing. I 
hope all her future roles in pictures 
are as interesting as this one. 

Richard McGinnis, 
108 Highland Ave. 

Likes Home Town Stories 

Perry, Iowa. — 

The articles contained in New Movie 
are splendid. Especially the Home 
Town Stories of the Stars. We like 
to hear of their past as well as their 
present. The pictures are certainly 
satisfactory. It is well balanced, highly 
entertaining and a dime's worth. What 
Scotchman could ask for more? 

Hildred L. Levy, 
1707 Lucinda Street. 

A Word for Buddy 

Brooklyn, N. Y. — 

New Movie has scored again! Why? 
Its immediate announcement of Buddy 
Rogers' Columbia recording had me 
all aflutter. I walked a mile — not for 
a Camel —but for the record. Was it 
worth it? I'll say it was. Thank you, 
Mr. Rogers, for making me so happy, 
and thank you, Mr. New Movie Editor 
for your prompt infoi-mation. 

Frances Engel, 
1121 Avenue R. 

Answer to Fan's Prayer 

Cleveland, Ohio. — 

Heavenly days! What a magazine! 
New Movie is certainly the answer to 
a movie fan's prayer! If you want to 
"throw a party" that is different, just 
look up "How Hollywood Entertains" 
in New Movie. And speaking about 
latest styles! That magazine is full 
of nothing else but. If you have a 
New Movie handy there's no excuse 
for seeing a picture that wasn't "just 
what you wanted." And boy, oh boy! 
The First Aids to Beauty are knock- 
outs! Then — getting down to the cli- 
max! No one in the good old U. S. A. 
or elsewhere ever got more for a dime 
than they get in the New Movie! 



{Continued from page 6) 

The photos just about knock your eye 
out, and the stories make you feel as 
though you'd known the star all of 
your life! 

Victoria Blaich, 
9505 St. Clair Ave., No. 2. , 

Defends Tibbett 

New York, N. Y. — 

I wish to answer K. C. Smith, when 
he or she said that Lawrence Tibbett 
was repulsive. He talks of Tibbett's 
face being repulsive. Is it because of 
its sincerity, frankness and goodness? 
He also mentions the fact that his 
mouth is wide. Did K. C. Smith expect 
an opera singer to sing through his 
nose? As to his hair being wild, did 
K. C. ever see a Cossack bandit from 
the Caucasus Mountains have his 
hair sleeked back like a parlor sheik? 
Also, there is no PERHAPS about Mr. 
Tibbett's singing. If, as you say, you 
would rather miss the song than to 
have to look at him, it proves that 
you're no lover of music. 

E. H. Goerecki, 
339 E. 32nd Street. 

Used in School Work 

Watsontown, Pa. — 

You can't possibly realize what a 
great help your magazine has been to 
me in my Home Economics course. 
You might ask, How Could a Movie 
Magazine help you eat? But that is 
exactly what your magazine did. In 
Number Six there was an article about 
"How Hollywood Entertains." The 
menus which were given brought me 
an A-95 on my monthly report for the 
best planned menu. Of course all due 
credit was given to your magazine and, 
believe it or not, all the Home Making 
girls have started to purchase your 
magazine for use in school work. 
T. Pauline Leech, 
General Delivery. 

Cheers from England 

Boston, Mass. — 

My family in England are ardent 
film fans and I have always sent them 
bundles of movie magazines. They 
write: "Don't bother to send any but 
your New Movie Magazine. We find 




Five minutes after this picture was made, Raoul Walsh, with uplifted 

hand, started the pioneers and their covered wagons on "The Big 

Trail," which he is making for Fox Pictures 



it the snappiest and the best of the 
bunch. Why should you pay a shilling 
(25c) when you can get The New 
Movie for fivepence (10c) ?" 

W. M. Reeves, 
109 Peterboro Street, 
Suite No. 29. 

Interested in Music 

St. Louis, Mo. — 

Usually the first thing I read in 
The New Movie is "Music of the 
Sound Screen." I am an ardent lover 
of music and this department is very 
interesting to me. 

M. B., 
3810 Indiana Avenue. 

Anent Chevalier 

Woodhaven, L. I., N. Y. — 

Someone doesn't like Chevalier, I 
judge by a letter in the last issue. 
They say: "He is not even good look- 
ing." Well, what of it? He's bubbling 
over with personality. Lon Chaney is 
not handsome. Is he famous? Ask me 
another. 

I have two requests to make. Please 
have Jean Arthur and Anita Page on 
one of your covers. Please, please pub- 
lish this great magazine twice a 
month ! 

Joseph Mackey, Jr., 
8714 95th Street. 

Praise for Herb and Adela 

Philadelphia, Pa. — 

Whoop-la! So Herb is back! With 
all the old-time aplomb, too. Where, 
oh where have you been roving? To 
those of us who've been reading the 
picture magazines since the first few 
flickers (and paying our quarters for 
'em, too) Herb Howe is sort of in- 
dispensably linked with film chat. 
New Movie is lucky to have him and 
Adela Rogers St. Johns. This lady is 
another of our most affectionate fan- 
cies, and one of our most persistent 
ambitions is to achieve something of 
such importance that Adela Rogers St. 
Johns will be asked to interview us! 
How we would enjoy knowing per- 
sonally this charming writer, whose 
interviews are so human, convincing 
and colorful — and at times "chummy." 
Mrs. St. Johns is one of those mental 
companions whom we come to like im- 
mensely through our reading. 

Elizabeth A. Williams, 

304 Arch Street. 

More Cheers for Herb 

Providence, R. I. — 

I have been a yearly subscriber to 
three of the most popular movie maga- 
zines, and up to the time when New 
Movie Magazine was published en- 
joyed them very much. However, since 
reading New Movie, I have cancelled 
my subscription to the other magazines. 
Your movie magazine is these three 
all rolled into one. The general set- 
up of the book, to my mind, cannot 
be improved upon. The covers are 
most interesting— a compliment for the 
artist — and, last but not least, Herb 
Howe has my congratulations. I think 
he is superb in his "meditations." 
Anne Steiner, 
118 Wesleyan Avenue. 



104 



The New Movie Magazine 




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Nevertheless, now- a -days there is 
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105 



Visits to the Famous Studios 



two complete sound stages. Two of 
these are monstrous things of steel 
and concrete. One contains a com- 
plete theater, the largest hippodrome 
stage west of New York City, for the- 
atrical spectacles in films. The stage 
in this theater is eighty feet long, 
eighty feet wide and eighty feet high. 
It has every modern mechanical device 
invented. It is this you see in M.-G.-M. 
pictures whenever theatrical sequences 
are shown. 

Another stage, the largest in exis- 
tence, one hundred feet wide and two 
hundred and fifty feet long, is a steel 
and glass semi-enclosed affair for extra 
large exterior scenes, such as those 
shown in "The Trail of '98." The rest 
are ordinary, huge steel and wood 
stages made soundproof by being lined 
with a composition. 

In these daily can be seen Jack 
Gilbert, Norma Shearer, Bill Haines, 
Marion Davies, Ramon Novarro, Greta 
Garbo, Lon Chaney, Joan Crawford 
and a host of less famous players who 
are battling their way to stardom. 

A GROUP of concrete buildings is 
to the left as you come in the 
main gate. The first three-story 
building is the one housing the execu- 
tives. Irving Thalberg is one of them. 
Louis B. Mayer is another. 

Next comes a three-story concrete 
wardrobe building. In it are tailor and 
dressmaking shops, designers' offices 
and storage space for the more than 
10,000 dresses and costumes M.-G.-M. 
keeps on hand ready for a moment's 
call. With Adrian and David Cox de- 
signing them, and "Mother" Coulter 



(Continued from page 55) 

supervising the making of them, some 
famous costumes and styles have gone 
out to the world from this building. 
They make the dresses worn by Garbo, 
Shearer, Crawford, and other M.-G.-M. 
stars. 

Just past the wardrobe is the pub- 
licity building and casting office. That 
small office to which so many come 
daily, only to be told, "Sorry. Nothing 
for you to do." That sentence has sent 
many a boy and girl out into the sun- 
light to wonder where, and when, they 
will eat next. 

Directly across from the publicity 
building is the commissary. A com- 
plete restaurant with dining room, 
lunch counters and soda fountain. It 
is run on a non-profit basis, being 
strictly for the convenience of the 
studio employees, the stars, extras, 
cameramen, directors. For years the 
minimum number of meals which have 
been served here in any one day — 
Sundays excepted — is one thousand. 
And as many as seven thousand have 
been fed in one day during heavy pro- 
duction. It is here that Louis B. 
Mayer entertains the entire studio at 
a turkey dinner each year during the 
Christmas holidays. Never has he had 
less than 2500 guests. The commissary 
has its own ice and carbonating plant. 

Directors' Row rises two stories and 
runs away from one side of the com- 
missary. Here sit Bob Leonard, Sam 
Wood, Jack Conway, Harry Beaumont 
and other directors, figuring out how 
they will shoot scenes which will meet 
with your approval. 

Around the corner we come to the 
fan-mail department. Seven clerks 




handle an average of 38,000 letters a 
month addressed to the stars. They are 
in reality a miniature postoffice staff, 
sorting the letters and seeing that 
each star gets his sackful every day. 
It is these men who do the work of ad- 
dressing and sending pictures of the 
players to those who request them. 

STROLLING further about the fifty- 
three acre lot we run into stages 
back to back, stages stuck off in corners, 
sets all over the place. A building for 
music and dance rehearsals, a record- 
ing building where the voices you hear 
are put upon wax and sent to your 
theater. A camera building. Near it 
the projection rooms, where daily the 
"rushes" are viewed. 

Over there is the big electrical build- 
ing. The M.-G.-M. studio uses 
2,500,000 kilowatts of juice a year. It 
has a "connected load" of 35,000 horse- 
power — more than enough to light a 
city the size of Reno, Nevada. 

Coming around the corner of a stage 
you see bungalows which nestle into 
the ground and look like dream houses. 
These belong to the stars. Then the 
make-up department, where men who 
are artists in their line study and 
worry about how they can make up 
pretty faces so that they will look 
prettier. 

A little schoolhouse for child actors. 

And more sets. 

MORE than 3,000,000 feet of lumber 
a year are used in building sets. 
15,000 gallons of paint. 250 tons of 
plaster. 4,000 sacks of cement. 15,000 
tons of rock. 600 bales of plaster fibre. 
300,000 feet of wallboard. These 
figures are for material for the build- 
ing of sets only. They do not include 
the materials used to build stages and 
buildings. 

The telephone system at M.-G.-M. is 
a 1200-unit central switchboard. It 
is more than big enough to adequately 
serve a city of 3,000 people. 

A foot is twelve inches. That is 
understandable. But it is hardly pos- 
sible to imagine a strip of film 
50,000,000 feetlong. Yet that is the 
amount used in the Metro-Goldwyn- 
Mayer studio yearly. 

Even so, it is doubtful if it is any 
more difficult for us to visualize that 
strip of film, than it would have been 
for Tom Ince, looking at those acres of 
sagebrush and waste land in 1914, to 
have pictured the M.-G.-M. studio as it 
is today, with its 120 buildings, its 
2500 employees, its features he had 
never conceived. It is indeed a far 
cry from that dinky, rickety one stage 
he first erected to the ten thousand 
people who were on the lot at one time 
during the shooting of "Ben Hur." 

For that is motion pictures. That is 
romance. 

Culver City is now boasting of 13,000 
as her population. That real estate 
gent — Harry Culver — is a multimillion- 
aire today. 



Next month NEW MOVIE will present another fascinating installment 
of Lila Lee's life story. Be sure to watch for it. 



Next month NEW MOVIE will pre- 
sent a tour of another leading Cali- 
fornia studio. Watch this series- — ■ 
and learn all about picture making. 



106 



The New Movie Magazine 



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Old Mill Paper Products Corp., Dept. T-830, Linden Street corner Prospect Avenue, Brooklyn, N. Y. 

107 



Hollywood's Successor to IT 



(Continued from page 39) 



the local girls to consult their mirrors. 
They saw themselves happy little rich 
girls in their casual sweaters and 
skirts, their illustration of Bohemian- 
ism. 

As an answer to the stage imports, 
Hollywood offered Lilyan Tashman as 
its best-gowned woman. Hollywood 
meant its best-wardrobed, for Dolores 
del Rio, Norma Shearer, Evelyn Brent, 
Dorothy Mackaill and Pauline Freder- 
ick bow to no better-frocked female. 

WITH such a jockeying for suprem- 
acy going on in more mature 
quarters, the flapper awoke one gloomy 
morn to find herself playing second 
fiddle. She discovered she had been 
standing still, content merely to hey- 
hey and take the bow. 

In desperation, she has pulled herself 
together, and from the confusion of 
new styles, new influences, new compe- 
tition, the modern girl of Hollywood is 
beginning to find her new personality. 

She has split into three camps in the 
search for herself. 

She is the clear-eyed prototype of 
Lilyan Tashman. 



She is the Loretta Young miss. 

She is the rebel who ridicules her 
more cautious sister and continues to 
say it in actions. 

Now the Lilyan Tashman edition has 
cultivated her eyebrows as an emphatic 
means of expression. She speaks in a 
drawl. She deliberately sentences her 
lithe body to be a clothes horse. She 
converses in a bored way about diet, but 
is cautious to keep to non-fattening 
foods. She will flirt naughtily, but not 
conspicuously. She is so discreet she 
cannot be gossiped about. She mas- 
caras her lashes. Her lips bloom ruby 
red. There's cosmetic color in her 
cheeks and not a shine on the skin that 
boys crave to touch. An artful, wise 
girl, this Lilyan Tashman edition. 

But the Loretta Youngs! Ah, they 
brighten the hopes of an older genera- 
tion who for lo, these many years, have 
sighed that the young ones of today are 
headed straight for perdition and sani- 
tariums. The Loretta Youngs are 
sweetly prepared for public appear- 
ances. They melt in the presence of 
men. You have a sneaking suspicion 
they'd try a swoon should a convenient 




Tlipk I — Little Mary Korn man and Mickey Daniels were members 
■ ■ 1 LI N of "Our Gang" not so many years ago. 




y 



k |/'""\\ A / — Miss Kornman and Mickey have grown up in the films 
INx^ YY and they are appearing in a new Hal Roach series, 

"The Boy Friends." 



mouse scamper in sight. No more fin- 
ger-snapping freedom. This modern 
girl goes in for what grandmother did 
when grandmother practiced her cun- 
ning wiles. Yet she is firm when the 
occasion demands it. As witness Lo- 
retta Young herself. 

Loretta is a nice child. She minded 
her mother, until she eloped with Grant 
Withers. Her mother battled to have 
the marriage annulled. Loretta refused 
flatly. She's modern, all right, with 
that streak of fine steel threading 
through an otherwise pliable tempera- 
ment. 

THE rebel of today is looked upon 
by the other two factions as a bit 
hoydenish. She lives (figuratively 
speaking) across the railroad tracks in 
the mysterious part of town. In pub- 
lic she still takes her liquor and her 
men straight. If her nose glistens, 
its jolly well none of your business. She 
swears robustly and at times her knees 
may defy regulations and salute the 
sunshine. She goes everywhere, but she 
prefers to couple off in groups. She's 
a slender poo-poo-de-pah-doo infant 
and her wisdom puts the Sphinx to 
shame. She's a marathoner when it 
comes to late hours and making who- 
cares. 

Now Hollywood's three flapper suc- 
cessors declare a truce on one point. 
They defend themselves against possi- 
ble criticism with the gentle, surprised 
query: "Why shouldn't I do this or 
that? Everybody does it." They look 
upon the older group with misgivings. 
They let them severely alone, but they 
study them. 

The harum-scarum Clara Bow has 
accepted the new order. Clara's bob is 
shingled and nestles to her head in- 
stead of reaching for the clouds. She 
hasn't that "poured into her clothes" 
look any more. Lupe Velez, who joined 
the flap brigade when she spiced to 
town, has quieted down. 

I tell you, Hollywood has grown up. 
Sex appeal hides behind long skirts and 
four walls. "IT" has taken its place 
as a neuter pronoun and not a blaze. 

Hollywood has buried the old-time 
flapper. The tantalizing, "soft pedal" 
or "everybody does it" girl is here. 

Perhaps tomorrow you will see her, 
a merger of the three types that have 
subdivided youth today. She will be 
frocked with the smartness of a Tash- 
man. At social affairs, she will mas- 
cara her lashes and ruby her lips to 
the jeweler's taste. She will affect the 
demureness of a Loretta Young, in 
quaint contrast to the sophistry of her 
appearance. She will appreciate the 
brilliance of such a contrast, will this 
"soft-pedal" girl. She may permit her- 
self the luxury of poo-poo-de-pah-doo 
moments. Particularly if she wishes 
the center of the stage and one pair 
of masculine eyes devoted exclusively 
to her. 

She will be a fresh, glowing, swank 
figure, this vivid whoopee child. She 
will have the poise of a Palm Beach 
heiress, the eclat of a Mrs. Beau Brum- 
mell, and the pep of a Marie Dressier 
grand-daughter. 

What a girl ! 



108 



The New Movie Magazine 



How Hollywood 
Entertains 



(Continued from page 75) 



•Mrs. Harold Lloyd. Rose pink 
crepe de chine with a delicate collar 
of embroidery and a pink maline eve- 
ning hat to match. 

Blanche Sweet. Sapphire blue satin, 
cut in severely simple lines and falling 
to the floor. 

Marion Davies. Powder blue chif- 
fon, low in the back, with a beauti- 
fully draped skirt. 

Mrs. John Boles. Black and white 
printed chiffon, with a rather long 
cape, falling to the waist behind. The 
print was arranged to give decoration 
to the dress in the cape and around 
the bottom of the skirt. 

Leatrice Joy. Delicate green-blue 
crepe de chine, with a small, tucked 
vest of shell pink chiffon. 

Lois Wilson. Black chiffon, with a 
big print of beige and rose. The low 
neck was outlined with a soft ruffle of 
the same material.. 

Mary Eaton. Print chiffon, in very 
gay colors, made with a ruffled skirt 
and delicate ruffles about the neckline 
and falling over the shoulders. 

Julanne Johnson. Caramel tulle over 
taffeta of the same color. The dress 
was tucked to give it a line close to 
the figure. 

Olive Tell. White chiffon, heavily 
weighted with pearl beads and rhine- 
stones, and with a square cut cape fall- 
ing to the waist. 

Louella Parsons. Allover black lace, 
with a draped skirt and a low-cut back. 

Mrs. George Archainbaud. Black 
chiffon, over ivory satin, shirred in a 
straight line down the front. 

Eileen Percy. Black and white 
print, belted at the waist. 

Mrs. Phyllis Daniels, mother of the 
bride-to-be, wore a gown of beige all- 
over lace, and Mrs. George Butler Grif- 
fen, Bebe's famous grandmother, was 
in black chiffon and diamonds. Mrs. 
Lyon, Ben's mother, was in lavender 
chiffon, and his two sisters, who arrived 
from the East for the wedding festiv- 
ities, were in print chiffons, in green 
and blue. 

Mrs. Owen Moore. All black chiffon 
with a square neckline, to the waist 
in the back. 

Mrs. Abraham Lehr. Ivory white 
satin, with flowing panels to the floor. 

Here is the recipe for the "Fitzmau- 
rice hash," which has received so many 
compliments. Many hostesses in Holly- 
wood make some special dish peculiarly 
their own, and serve it for large par- 
ties, just as the Fitzmaurices serve 
this popular dish: 

Take onions, eggplant, and ripe to- 
matoes. Slice in rounds, as for salad. 
Brown in an iron pan with plenty of 
butter. Place a layer of eggplant, 
onion and tomato, when browned, in a 
casserole. Salt and pepper liberally 
and add a touch of cayenne. Then add 
a layer of about two inches thick of 
raw round steak, repeat this until the 
casserole is full, with a layer of the 
meat on top. Place in a slow oven for 
about twenty minutes. Then increase 
the fire until it is hot and allow to 
bake until the meat is thoroughly 
browned. 




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from delighted Rinso users. "Makes rich, 
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109 



A Fool and His Honey 



all the fashionable show places, and 
Mr. Wick took up the wearing of a 
cane and began to think of having his 
ears bobbed. Miss Effingham purred 
like a kitten. She had begun to appre- 
ciate the width of the invisible gap that 
separated the film colony from the 
Eastern interlopers, but the husbands 
were beginning to grow curiously rest- 
ive, and that was enough to get her 
talked about by the Beverly Hills wives. 

BUT for the slighted Marjorie there 
was no content. Rumors reached 
her, and left her in that state where a 
woman hovers between a spree on 
champagne or hats. She chose the hats, 
telling herself that Mr. Squibb had the 
right idea. Who, after all, would go 
gunning for the homespun Jelly Roll? 
Certainly not a new York gasper who 
made an equally high salary. So, to 
show how sweetly she bore her loneli- 
ness, she rang up her straying suitor. 

"Of course, I haven't forgotten you," 
bellowed Mr. Wick to her plaintive 
question. "Listen, Marjorie, it's just 
business that's all. She says I'm so 
kind it helps her to do good work, and 
so far as I'm concerned she isn't a real 
woman like you. She's more like a god- 
dess, see, on the line of those statues 




An attractive ensemble for the seaside, 
presented by Jean Arthur. The trousers 
are of cream satin. The satin jacket is 
of red, white and blue stripes. With 
this Miss Arthur wears a sun hat of 
leghorn. 

110 



(Continued from page 49) 

over in the museum. You know, the 
kind the Greeks looked up to before 
they married ordinary girls." 

"Like me?" 

"Sure, like you — no. No, I mean " 

"So you worship her, eh?" shrilled 
Miss Berry, forgetting that she was 
going to be sweet if it killed her. "God- 
dess your eyebrow! Whoever heard of 
one coming from the slag heaps of 
Pennsylvania?" 

"I haven't even kissed her," soothed 
the comedian, neglecting to mention 
that Adrienne had been too alert to 
give him the chance. He waited for 
an apology, but all he received was a 
severe shock to his eardrums as she 
slammed down the receiver. 

The second week found the picture 
well under way, and the rapidly swell- 
ing Jelly Roll became the center of at- 
traction. The mosquito-like Mr. Eppus 
Squibb and the director went into a 
huddle with him over his big scenes. 

"Speaking personal," said the seventh 
vice-president, "if I was an audience 
I'd be looking for a laugh about this 
point. All that hash of uniforms, love 
and you-ho-ho choruses gets kind of 
sticky, so here's where you come in. 
While Tremont's gargling his first num- 
ber to the gal we'll show a shot of you 
up in the rigging with that dead pan 
look. See?" 

Mr. Wick congealed a trifle. "Yawss," 
he nodded, copying Tremont's accent. 

"Yawss!" mimicked Mr. Squibb. 
"What kind of gab is that for a crack- 
pot like you? Listen, when the song 
ends you shriek like a five o'clock 
whistle, do a twenty-foot fall into a 
barrel of flour, which busts apart, and 
you come out looking like a charlotte 
russe. You jump up and start whirl- 
ing around, and what is there but a 
couple of giant lobsters biting you." 

"No," said Jelly Roll, taking the bit 
in his teeth, "I won't do it. It's coarse." 

"I hope to tell you it's coarse," yelled 
the director. "What do you think 
you're here for? Don't uncork that 'No' 
again, either." 

"No," repeated the desperate come- 
dian. "I'm up here in a six-reeler and 
I want to be funny in a nice way. Re- 
member the letter scene in 'Disraeli'? 
Boy, that's what I call subtle humor, 
and I can put myself over like " 

"I'll 'Disraeli' you!" bawled Mr. 
Squibb, "and in addition I'll subtract a 
fine off your wages for insub — insub — 
well, you know what I mean. Go ar- 
tistic right under my nose, would you? 
The next thing I know you'll be paint- 
ing a poached egg and telling me it's a 
sunset. Shinny up that rigging be- 
fore I forget I got liver trouble." 

MR. WICK cast a pleading eye at the 
voluptuous prima donna, whose 
costume consisted principally of beads, 
a strange interlude, and more beads. 
Strangely enough, she showed little 
sympathy and shook her head in disap- 
proval. The disheartened Jelly Roll 
backed down without further argument 
and fell seven times before Mr. Squibb 
offered grudging congratulations. 

He made two more objections during 
the day, but was bullied into working 
in his tried and true fashion, and at 
five o'clock he waddled over to Miss Ef- 
fingham like a chastised poodle. That 




Guess who this is. Who? Wrong. It's 

Lon Chaney, as Mrs. O'Grady in his new 

talkie version of "The Unholy Three." 

lady's tigerish glance was roving rest- 
lessly around the studio and she showed 
no delight in his presence. 

"Can you tie those fellows?" moaned 
Jelly Roll. "Here I am all broken out 
with ideas and they squelch me. It cer- 
tainly will be a relief to drive down to 
Santa Ana with you this evening." 

"Not with me," said Adrienne, who 
seemed covertly excited. "I — I feel one 
of my old headaches coming on, mostly 
due to you and your complaining on 
the set. Look, Jelly, who's that hand- 
some chap who came in a few moments 
ago — isn't he Keats Knollcrest?" 

Mr. Wick inspected a blind Apollo 
who was fluttering his eyelashes at 
nothing in particular. "Sure, it's Knoll- 
crest," he answered. "He's just been 
divorced and he's ' 

"Really?" cooed Miss Effingham, 
making all her beads quiver. "How 
gra — oh, my poor head! Well, good- 
night, Jelly, see you tomorrow, and re- 
member, I'm angry with you." 

She undulated away, and Mr. Wick 
trudged gloomily to his dressing-room, 
washed up and became surprised that 
a broken heart is not the tragedy it's 
cracked up to be. The proper pro- 
cedure would have been to go out and 
howl at the moon, but by supper time 
he was beaming contentedly across 
some corned beef and cabbage at Pto- 
maine Tommy's, and Miss Marjorie 
Berry was twinkling right back at him. 

I'M coming to watch you work to- 
morrow," she promised. "My but 
it will seem queer to see you in a big 
place like Fascination. And of course 
I'm not jealous, because you don't look 
a bit lovesick, but how did you manage 
to slip away from your goddess?" 

"Lay off," grinned Mr. Wick. "She 
— she just wanted to rest up for the 
big farewell scene we're going to 
shoot. And say, I've got plans for my 
stuff that will give it what the pub- 
licity calls a lyrical note." 

So Marjorie, bred in the rough and 
tumble school of two-reelers, came into 
the studio the next morning wonder- 
ing if she were in her right senses, 
for there was her hero with his back 
to the wall. 



The New Movie Magazine 



"NO!" he was shouting. "I've given 
way to everything else," but not this. 
It's due me, I tell you, and it's my am- 
bition to be wistful. I want a fadeout 
that'll leave a catch in the throat." 

"I'll give you the same sensation 
with a rope," threatened Mr. Squibb, 
hopping with -rage. "I'm telling you, 
don't go nuts no more. The finale calls 
for the pirate ship to fire a salute to 
their head man and his captured girl 
friend. Twenty cannons go off, and 
then, from the twenty-first, where 
you've been sleeping, comes you. We'll 
jerk you into the air with an invisible 
guy line, drop you on the bowsprit, 
where you hang by your suspenders, 
and then, while you deliver the line, 'I 
can hear the caskets coffin',' the bow- 
sprit cracks and you disappear into the 
mouth of a property whale. A wow, 
positively. It took three men eight 
days to concoct that sequence, and I 
don't want no squawks, get me?" 

"You don't want Art, either. My 
idea is to have a scene showing that 
I'm secretly in love with the princess, 
and then, as she sails away with her 
pirate, I sit there wearing an agonized 
smile and looking wistfully across the 
sea. After all the slapstick I've pulled, 
it'll seem all the more tragic. Why, 
Miss Effingham told me " 

"I .might have told him anything," 
drawled the prima donna. She was 
looking a bit puffy about the eyes and 
she glared malevolently at the earnest 
Jelly Roll. "You sap," she said with 
cruel distinctness, "don't you know I've 
been kidding you along just so I'd be 
sure of an escort? When you told me 
why the movie stars were freezing I de- 
cided to make a play for you because 
you're famous enough in your uncouth 
way. And now Mr. Knollcrest " 

"I thought he was lounging around 
for that," gulped Jelly Roll. "I was 
going to warn you, too, but I suppose 
he spoke to you and " 

"No dearie, I spoke to him. Why, 
I've admired him for years. And so, 
my oversize friend, you can fly your 
kite and not hold up this picture with 
any more gush about your art. You 
clown!" 

MR. WICK resembled a punctured 
blimp as he stared at the goddess 
who had turned out to be clay to the 
knees, at least. His mouth sagged open 
as he tried to think of a retort, but 
he was saved the strain. A compact, 
blazing-eyed redhead had jumped into 
the center of the stage. 

"You bet he's a clown!" she cried. 
"And a good one, too. Jelly, this Broad- 
way gasper admits you're famous. 
What made you that way?" 

"Two-reelers, I guess." 

"You bet it was. So get in there 
and be funny — be yourself!" 

"Aw, but listen, honey " 

"Get in there," repeated Marjorie, 
"or you'll never have the chance even 
to ask me for the right time. You and 
your wistf ulness ! You'd be a laugh 
all right, but not in the way you im- 
agine. I've helped you to make a lot 
of successes, Jelly, and I'm not going 
to see a pair of musical comedy cana- 
ries steal a picture from you now. Snap 
to it!" 

Mr. Wick snapped. Uncomplaining, 
he spent half a day of hoisting and 
falling, splashing and roaring. He 
managed to add considerable mugging, 
wherein his moonface took on more 
than slight burlesque of La Effingham's 
coyest expressions, and, working with 
(Continued on page 112) 




. / 



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A Fool and His Honey 



a sure-fire touch of the ridiculous, he 
had Mr. Squibb and several other offi- 
cials leering their praise, for the prima 
donna was far from popular. 

"117 ISE guy," snarled the lady, when 
VV the day was over. "Had to have a 
woman save you, eh? Well, she's wel- 
come. I'm wise to Hollywood now and 
Mr. Knollcrest wouldn't want me to 
bother with you." 



(Continued from page 111) 

"I don't wonder," said Mr. Wick 
lightly, "seeing that he'll be plenty of 
bother himself." 

"What do you mean?" Adrienne's 
eyes narrowed suspiciously. 

"He'll probably propose to you inside 
a week." 

"Well?" 

"Seeing you really know Hollywood, 
old kid," said Jelly Roll, growing reck- 
less, "of course you've heard that Knoll- 




crest is a flop in the talkies and that 
his contract has been allowed to lapse. 
That's why his wife divorced him." 

"Wh— what?" 

"And that he's boasted he can trick 
some Broadwayite into marrying him 
for his profile." 

"You wretch!" screamed Miss Effing- 
ham. "And I thought you were fond of 
me. Why didn't you say something?" 

"I tried to last night but you 
wouldn't listen," said the comedian, 
looking his stupidest. "Say, keep a 
date open about a week from Friday, 
will you?" 

"After the way I've talked to you! 
Why, Jelly, is it some big event?" 

"Sort of," grinned Mr. Wick wig- 
gling his eyebrows at the radiant Mar- 
jorie, "and I'd hate to have you miss 
it. Y'see, I've got an idea that that's 
the day I'm going to be married." 



r\ NE month later the Chortle Come- 
^-/ dies Studio buzzed with achieve- 
ment as the making of "Jury Fury" 
went forward without a hitch. The old 
standby, Jelly Roll, playing a slightly 
squiffed judge, had just received a 
lemon meringue pie where it would do 
the most good, and now was registering 
rage through the welter of goo. 

"A pip," laughed the director, after 
signaling to the monitor man. "Here, 
somebody, wipe off Mr. Wick's face so 
he can breathe. Jelly, old sock, I saw 
the premiere of 'The Pirate's Princess' 
last night, and you were a riot." 

"And did you read the critics?" 
thrilled the copper-haired Mrs. Wick. 
"One says he was guilty of robbery and 
another claims the way he burlesqued 
the lovers was 'a delicious bit of sly 
humor.' And the highest-browed one 
of all wants to know where Jelly Roll 
has been hiding, and calls him 'deft'! 
Just what he always wanted." 

"Aw, I'm not so hot," said Jelly Roll 
modestly. "It's no trick to cop a pic- 
ture from a couple of singing clothes 
horses, providing a comic sticks to his 
art." 

"His what?" asked the startled di- 
rector. "You mean that hokum " 

"Is A-R-T. I certainly do, Joe, just 
as much as bleating about your noble in- 
tentions in High C. I suppose I'll have 
to save a weak feature now and then if 
Squibb sends for me, but I'm glad to 
be back here. That last scene, now; 
you liked it?" 

"Aces up, Jelly Roll; you've never 
been funnier." 

"We-e-ell, I'm not so sure," said Mr. 
Wick thoughtfully, his glance taking 
in the stack of emergency lemon me- 
ringues, then switching from them to 
the pie-thrower. "An artist should al- 
ways be striving for perfection, so my 
wife says, and that goes for me too. 
Sock me again — I like it!" 



A strip of sound film, enlarged. This is the way Buddy Rogers and Nancy 

Carroll appear alongside their voices in an episode of the golf film, "Follow Thru, 

in which they co-star. The sound track appears between the sprocket holes and 

the pictures at the left. The cross lines are the voice records. 

112 



Watch for more sparkling fic- 
tion in future issues of NEW 
MOVIE. Several corking short 
stories are outlined for early 
numbers of NEW MOVIE. 



The New Movie Magazine 



First Aids to Beauty 

{Continued from page 98) 



a strenuous diet, but they still do not 
change their exercise habits. For 
eighteen days they live on grapefruit 
and toast melba. They lose a few 
pounds, stop the diet and promptly 
gain back their weight again. Some- 
times, because they are too strict about 
the diet, they suffer from stomach dis- 
orders and, to put it mildly, a bad dis- 
position. 

Other women exercise violently, either 
at home or on the beach or on the ten- 
nis court. But they continue to eat as 
usual. The result is that they are in- 
clined to gain more than they lose. Or 
else they suffer from a bad case of 
fatigue. 

The indolent women, with money to 
spend, engage a masseuse. New mas- 
sage is excellent in reducing but it will 
not effect a general reduction. It is 
only good for local areas of fat. For 
instance, many actresses and dancers 
have masseuses to keep the fat from 
accumulating on their legs. It is good, 
too, for removing those ugly rolls of 
fat from the stomach or from the 
shoulders. It will break down the fat 
tissues but, unaccompanied by diet and 
exercise, it will not prevent the fat 
from returning nor will it remove a 
great deal of poundage from the grand 
total of weight. 

So you see, if you are really greatly 
overweight and if you feel that your 
fat is endangering both your health 
and your appearance, it is best to real- 
ize that half measures in reducing are 
usually worse than none at all. Make 
yourself a reducing schedule that will 
include diet, exercise and massage, if 
possible, and stick to it. 

Lois K., Duluth, Minn. Dark reds, 
olive greens and rich browns are your 
best colors. Blues are not so good with 
your black hair, black eyes and dark 
skin. 

Mrs. Elise T., New Orleans, La. 
Many authorities feel that it is best not 
to drink tea, coffee or any stimulants 
while you are reducing. Others allow 
a cup of coffee at breakfast time. Or a 
demi-tasse after dinner, with hot water 
for breakfast. 

Y. T. L., Newark, N. J. When wash- 
ing your hair, use either a specially 
prepared shampoo or liquid soap. Or 
you may melt soap in hot water and 
use this on your hair. Do not rub the 
soap directly on the hair or scalp, as it 
is very difficult to rinse it off. 

Helene, New Haven, Conn. I know 
that it is difficult to make a little girl 
stand up straight. Children resent con- 
stant nagging. Why don't you appeal 
to your daughter's pride? Surely there 
is some movie actress she admires who 
should be set before her as a model. 
Try to interest her in athletics. Old- 
fashioned mothers used to make their 
daughters walk with a book balanced 
on top of the head. This was a strict 
method but it was often effective. 



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113 



The Unknown Charlie Chaplin 



called at the studio. Chaplin was in 
his private room. He would not ap- 
pear. 

It was my duty to go to the young 
woman and "shoo her away." I lied as 
little as possible, as it was not my na- 
ture to be a Munchausen — at fifty dol- 
lars a week. Besides, I pitied the girl. 

She left the studio with a wistful 
smile and made way for the comedian's 
romance with the Mexican girl. 

Men who consider themselves quite 
close to the comedian are often 



(Continued from page 51) 

mistaken. Often they have met him 
when he was in the mood for sociabil- 
ity. One such gentleman, who called 
himself Chaplin's "father confessor," 
called at the studio. 

CHAPLIN looked from a window and 
beheld his "father confessor." He 
made a frantic effort to hide and at last 
succeeded in getting into a clothes 
closet. 

I shut the door of the closet and 
went out to get rid of the caller. With 




All is peace between Jim Tully and Jack Gilbert. They are friends again. Indeed 
Jim, who helped construct Gilbert's next movie story, appears with the famous 
star as a member of the cast. Above you see them in a pugilistic moment of 

the film, "Way For a Sailor." 



the usual prevarication, I told him that 
Chaplin would not be at the studio 
that day. 

In departing, the gentleman said, 
"Well, just tell Charlie that I dropped 
in to say 'Hello.' " 

Chaplin emerged from the closet, 
breathing heavily, for the air had been 
close. Hearing the visitor's message, 
he wiped the perspiration from his 
forehead and exclaimed, "Why the 
devil didn't he send it on a postal 
card?" 

No man answered. 

SAVE in cases where he has been in- 
fatuated with women, it is doubtful 
if Chaplin has ever been deeply emo- 
tional over a human being in recent 
years. It is true that employees have 
remained with him for years, but this 
has been more a matter of habit on their 
part and on his own than any deep de- 
votion. The younger and more ambi- 
tious employees left him as soon as the 
opportunity for advancing themselves 
occurred. Despite the lowly social stand- 
ing of his early years in England, he 
nevertheless has acquired an upper- 
class attitude toward those who cannot 
grimace upon the screen to the tune of 
a million a year. 

He never makes comments on those 
who have wrongfully used him. Neither 
does he speak of a kindness which he 
has done to another human being. 

He is fond of animals and would 
stop his limousine to say a kind word 
to a stray dog. 

The canine which played with him in 
"A Dog's Life" remained a pet at the 
studio until the end of his decrepit 
days. He lived with the watchman at 
the front gates, and was made much 
of by all the men and women connected 
with Chaplin. Whenever the comedian 
appeared, however, old Bill would leave 
all and follow him. The dog's atticude 
never failed to please Chaplin. 

His charity takes strange turns. He 
is not by nature a generous man, large- 
ly. I think, because of the hurts and 
fears suffered during a sensitive boy- 
hood. Nevertheless, he is capable of 
many kindly impulses. 

A master of legerdemain who had 
often entertained Chaplin when he was 
a street urchin fell upon hungry days. 
He wrote the world-famous jester a let- 
ter asking for aid. Chaplin immediately 
put him on his pension list. 

"He was an artist," he gave as his 
reason. 

CHAPLIN did not talk of his father. 
Of his mother he always spoke 
kindly and often affectionately. It 
was he who eased the remaining years 
of her life. He was proud of her 
ability as an actress. 

"They can say what they want about 
my mother," he used to say "she was 
greater than I will ever be. She WAS 
a great actress." I remember his pro- 
nouncing the word "was" with defiance, 
as though expecting me to dispute it, 

"I've never seen anyone like her. She 
was good to me when I was a kid. She 
gave me all she had, and asked noth- 
ing back, and by God, I've got no 
mother complex, either. She was just a 
good fellow." 

(Continued on page 118) 



114 



The New Movie Magazine 



The Drama of Lila Lee 

(Continued from page 88) 

Irish heart. He came over and patted 
her shoulder encouragingly. "Don't you 
worry Tweenie," he said. "You can 
never tell in pictures. You just go in 
there and make something out of that 
party." 

The words gave her back a little 
courage. 

"And C. B. was so kind to me," she 
said later. "He knew how nervous 
and frightened I was and how little I 
knew about pictures. I had one little 
sequence alone, in my bedroom. He did 
that first to get me warmed up. And 
somehow, right from the first, we 
seemed to click. I knew what he 
wanted. It has never been like that 
with any other director." 

Pretty soon Tweenie began to have 
more and more scenes. In the middle 
of a shot, C. B. would say to Jeanie 
McPherson: "Does Tweenie come in 
here? Why don't we have Tweenie 
come in here and do this or that?" 

So that between them Lila and 
Tweenie did very well. Everyone was 
pleased. It looked as though Lila 
might even get a real chance sooner 
than she had expected. 

And then something terrible hap- 
pened. 

LILA began suddenly to grow. 
-/ "I was exactly like Alice in Won- 
derland when she ate the wrong side 
of the mushroom," she told me. "I 
grew and I grew. From being a little 
thing, which suited my age, I shot up 
until sometimes I felt just like Alice." 

Actually, Lila isn't so very tall. But 
she did grow amazingly in a short time. 
She grew as all girls in their teens do. 

So there she was again. A tall, lanky 
youngster, all eyes, too young for her 
height, too immature to play women, 
too gangling to play little girls. No 
one wanted her for anything. 

Probably she would have had to wait, 
like Jackie Coogan, to really grow up 
if it hadn't been for Wally Reid. 

Wally met her on the lot one day. 
"What are you doing, young one?" he 
said. 

"Nothing," said Lila, pathetically. 
"No one will have me for a leading 
lady because I'm too young and too tall. 
There aren't any other parts." 

Wally roared with laughter. "I'll 
have you," he said. "I'll fix that up." 

He did. Wally never took his pic- 
tures too seriously. Besides, at that 
time his popularity was so enormous 
that he could do no wrong. So began 
a long series of pictures in which Lila 
Lee was the great Wallace Reid's lead- 
ing lady. Somehow she fitted into the 
type of stories he was making and she 
was very popular. That era ended 
with the delicious comedy, "The Charm 
School." 

And so began, too, a beautiful friend- 
ship which lasted until the day of 
Wally's death. He always called her 
his little sister and treated her just 
that way. He advised her about her 
love affairs and her work and her busi- 
ness. He romped with her at the studio 
and played jokes on her, and insisted 
that she come to his house, where Dor- 
othy Davenport Reid was a gracious 
hostess, like one of the family. 

"Wally was the sweetest person who 
ever lived" Lila said, in speaking of 
him. "There will never be another 
(Continued on page 116) 





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Be3Hiracfe 

WASHES AWAY HA\K 



Next month THE NEW MOVIE offers as a special treat the home-town 
stories of Amos 'n' Andy . . . that all-popular team of radio stars. 



It Seemed 
to Hear 

We Knew She Had Never Taken 
a Lesson from a Teacher 

THAT night of the party when she said, 
"Well, folks, I'll entertain you with some 
selections from Grieg" — we thought she was 
joking. But she actually did get up and seat 
herself at the piano. 

Everyone laughed. I was sorry for her. But 
suddenly the room was hushed. 

She played "Anitra's Dance" — played it with 
such soul fire that everyone swayed forward, 
tense, listening. When the last glorious chord 
vanished like an echo, we were astonished — and 
contrite. "How did you do it?" "We can't be- 
lieve you never had a teacher!" 

"Well," she laughed, "I just got tired of being 
left out of things, and I decided to do something 
that would make me popular. I couldn't afford 
an expensive teacher and I didn't have time for a 
lot of practice — so I decided to take the famous 
U. S. School of Music 
course in my spare 
time. 

"It's as easy a.) A-B-C. 
I besan playing almost 
from the start, and risht 
from music. Now I can 
play any piece — classical 
or jazz." 



So Strange 
Her Play 



Pick Your Course 



Piano 

Organ 

Ukulele 

Cornet 

Trombone 

Piccolo 

Guitar 



Violin 

Clarinet 

Flute 

Saxophone 

Harp 

Mandolin 

'Cello 



Hawaiian Steel Guitar 

Sight Singing 

Piano Accordion 

Italian and German 

Accordion 

Voice and Speech Culture 

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115 



The New Movie Magazine 



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116 



The Drama of Lila Lee 



(Continued from page 115) 



Wally Reid. He didn't have one mean 
or unkind thing about him. He was 
the gayest, happiest person to be 
around that I've ever known." 

After she had played with Wally, 
Lila was grown-up enough to begin her 
years as Tommy Meighan's favorite 
leading woman. Both those great male 
stars are perhaps best remembered in 
pictures they did with Lila. 

Her screen career progressed quietly 
and steadily while she worked as hard 
as a girl can work, day after day. Her 
private life was developing at a much 
swifter pace. In one move it was en- 
tirely changed and for a time she faced 
in her home unpleasant situations. 

She was lonely. Even Minnie's con- 
stant companionship couldn'tmake up to 
a fifteen or sixteen-year-old girl for the 
intimacy and affection of home life. In 
Lila was bred a love of home to which 
she has often sacrificed a great deal, 
and which is much at variance with 
other traits in her nature. More and 
more she missed the love and compan- 
ionship and mothering which Lillian 
Edwards had always given her. 

Now that she was making a big sal- 
ary and was settled, she wanted a home 
of her own and she wanted her family. 
So she wrote and asked her mother to 
come and live with her. 

MR. AND MRS. APPELL, her own 
mother and father, from whom 
she had been separated most of the 
time since Mr. and Mrs. Edwards took 
her away when she was only five, now 
lived in Chicago. The mother had 
watched with a wistful eye the upward 
career of little Augusta, glad in her 
heart that she had made the sacrifice 
which made that career possible, yet 
sadly lonely at times for her youngest 
child. 

When Lila's letter came she was in a 



transport of joy. "She wants me," she 
told her husband. "She wants me. At 
last she has need of her mother." 

So Peg, Lila's older sister, and the 
mother came to Hollywood. They joined 
Lila and Minnie and together took a 
charming, old-fashioned house on West- 
ern Avenue. But the house didn't prove 
big enough for Minnie and Mrs. Ap- 
pell. Minnie had been supreme too 
long. She couldn't realize that this 
plump, beaming woman was Lila's own 
mother. And Mrs. Appell couldn't un- 
derstand why a strange woman should 
have everything to say about Lila's life 
— what she wore, what she ate, where 
and with whom she went. 

In the end, Minnie went. 

"I needed Minnie," said Lila. "But 
you know how those things are." 

Another thing happened then which 
caused Lila a great deal of real suffer- 
ing. That was her final breakaway 
from the long association with Gus 
Edwards. 

She was still under eighteen. The 
contract made with Lasky in New York 
was made by Gus Edwards as Lila's 
guardian, though he had no legal claim 
to that title. Now that her mother was 
with her again, now that she was 
struggling hard and working hard on 
her own without any aid from Ed- 
wards, Lila felt that he should have no 
say over her money or her activities. 

True, the Edwards had given her an 
education and a home. In return she 
had worked hard for them and made 
their act more successful than it could 
have been without her. Her love for 
Mrs. Edwards had never changed, but 
Mrs. Edwards was not able to be with 
her. And Lila had never felt for Mr. 
Edwards the trust and affection she 
gave his wife. She wanted to be free. 

So her lawyer filed a suit to have 
Lila's guardianship and her earn- 




Jeanette MacDonald certainly should kiss Ernest Lub.tsch the director. 

Didn't he make her a hit in "The Love Parade '? Right now he .sd.reet.ng 

her in "Monte Carlo" and— whisper— the picture starts w.th another lovely 

boudoir disclosure of the pretty Jeanette. 



The New Movie Magazine 



ings turned over to her own people. 
There was much newspaper publicity 
and there were many things Lila's loy- 
alty would not permit her to say. The 
story that the Edwards had picked her 
up out of the gutter, saved her from 
starvation, educated her above her own 
class, was broadcast. Lila's mother 
wept and Lila listened silently. 

In the end the case was settled out of 
court and Lila's mother was made her 
guardian. She remained in that posi- 
tion until Lila, on her eighteenth birth- 
day, was old enough to marry without 
her mother's consent. On that very 
day, July 25th, 1923, she became Mrs. 
James Kirkwood. One of the strangest 
and most dramatic marriages Holly- 
wood has known. 

But before that Lila had two years 
of very gay and very happy girlhood. 
No girl has ever been more popular 
than Lila Lee became once she had put 
up her hair and lengthened her dresses. 
She and Bebe Daniels and Constance 
Talmage were the recognized belles of 
the picture colony. 

HER first beau was Kenneth Hawks 
— who years later married the 
beautiful Mary Astor and met so tragic 
a death in an aeroplane catastrophe. 
Ken was one of the finest and cleanest 
boys in Hollywood. That was never a 
serious romance. Just a boy-and-girl 
crush, half friendship. 

Then she fell madly in love with Jack 
Gilbert. Jack had been engaged to 
Leatrice Joy and had broken it off. So 
he fell madly in love with Lila. 




Nancy Carroll hasn't renounced her 
Irish ancestors in favor of the Scotch. 
Don't worry. She is merely appearing 
in a costume ball sequence of her new 
film/'FollowThru," in which she co-stars 
with Buddy Rogers. 



At one time they were actually en- 
gaged. 

"What happened?" I asked her. 

She sat lost in thought. "Isn't it 
dreadful?" she said. "I can't remem- 
ber. I dare say we quarreled. We were 
very hectic and temperamental. He 
was so grand." 

THEN Charlie Chaplin became her 
devoted suitor. Three or four 
times a week you would see Charlie and 
Lila out together. 

"Charlie helped me grow up," she 
said. "He was wonderful. He under- 
stood life. He tried to give me a real 
philosophy. His mind was so far be- 
yond mine, yet we had such happy, 
amusing times together." 

It was great fun — being a belle, 
being courted by such great folk, going 
out to dance, playing and flirting, hav- 
ing pretty frocks and flowers. 

But none of it was deep. It wasn't 
until Jim Kirkwood fell in love with 
her that the deep drama of her life 
stirred. 

She had known Jim Kirkwood ever 
since she had been in Hollywood. He 
was a great favorite, a handsome, bril- 
liant, erratic Irishman, with a wild 
sense of humor and an emotional na- 
ture. They had always been friends, 
knew all the same people, liked each 
other. Occasionally Jim would drop in 
at the house on Western Avenue for a 
little visit. 

But he was twenty years older than 
she was and it had never occurred to 
either of them to fall in love. 

Then fate cast them in the same pic- 
ture. The name of it was "Ebbtide," 
and the location was Catalina Island. 
There, during the weeks of location, 
Jim Kirkwood found that the little girl 
had grown up, had become a woman, 
and that he loved her as completely 
and as insanely as it was possible fox- 
any man to love any woman. 

AT first Lila was startled. Then 
- gradually she fell under the 
charm, that Jim could always exert. 
By the time they came home they had 
promised each other that eventually 
they would marry. Jim was mad with 
happiness. Lila was in a dream. 

But they met appalling opposition, 
not only from Lila's mother, but from 
all their mutual friends. The differ- 
ence in age was one thing. Then Lila 
was a very young, inexperienced girl. 
James Kirkwood was a man of the 
world, a little weary perhaps of the 
very pleasures and excitements which 
Lila hadn't yet tasted. The match 
seemed somehow just not to be right. 

The engagement was broken, they 
quarreled, Lila went to New York to 
make pictures with Tommy — but neither 
quarrels, nor separations, nor opposi- 
tion could change them. Lila came 
back to Hollywood, and on her eight- 
eenth birthday married Jim Kirk- 
wood. 

Three weeks later — they had lived 
together one week and then he had 
gone on location — in a fall from his 
horse before her very eyes, Jim was 
terribly injured. He suffered a frac- 
tured skull and for months hovered be- 
tween life and death. Tragedy hung 
over their marriage, and Lila entered 
upon a new and entirely unforeseen 
chapter of life. 

(Next month New Movie will pre- 
sent the third act of Lila Lee's life 
story, with its heartaches and its joys. 
Here is a fascinating story of tragedy 
and success.) 



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TheUnknown Charlie Chaplin 



(Continued from page 114) 



His mother suffered from recurrent 
attacks of mental illness, probably 
caused by the vicissitudes of worry and 
poverty. 

"They used to let her go when they 
thought her mind was well," Chaplin 
told me. "In half a day she'd find a 
place to live, get someone to trust her 
for the rent of a sewing machine, some- 
one else to trust her for material to 
make sacks, and by night she'd have 
a dozen sacks ready to sell." He would 
pause in reminiscence. "And the first 
thing she'd do was get Syd and me. 
I'll never forget that. 

"One time we came home and found 
her gone. We thought the worst, but 
hoped we were wrong. It's not so easy 
for a kid to come home and find his 
mother taken away. So we knocked at 
the doors of all the rooms to find some- 
one who could tell us something. At 
last a big woman opened a door and 
we jabbered to her and asked a lot of 
questions. She couldn't tell us a thing. 
She was deaf and dumb. We found 
where they took her all right. Some- 
thing had snapped again. We'd go to 
visit her and take a couple of sacks of 
peanuts with us and take her and sit 



out under a tree with her until the 
man would come to get her. Many a 
time I couldn't talk for an hour after- 
ward." 

WITH very keen perceptions, but by 
inclination an actor, he has not 
always a proper sense of values. 

"A great artist must have a great 
audience," he once said to me. 

"How about Whitman and Nietzsche?" 
I asked him in return. He made an 
evasive answer. He had spent but very 
little time with such men. He knows 
considerable of David Garrick, but 
nothing of Samuel Johnson, a man of 
larger metal. 

He is probably the finest example of 
the parlor socialist in Hollywood. His 
sympathies, bound up with pity of his 
own early suffering, are seldom any- 
thing but abstract. 

A facile conversationalist, his appre- 
hension is greater than his application. 
With the exception of his life work, 
which is more than half intuition, his 
knowledge of all other subjects is quite 
superficial. 

His reputation brings with it a cer- 
(Continued on page 121) 




Charlie Chaplin has been at work on his new comedy for a long time but few 

scenes from the picture have been allowed to reach the public. Charlie is 

afraid someone will steal his comedy ideas. This shot shows Chaplin in his new 

film and it was released especially for NEW MOVIE. 



118 



The New Movie Magazine 



Back to Her First Hate 



(Continued from page 27) 



a new interest in the thing she used 
to hate. 

So now she is back in Hollywood 
and very glad of it. 

She hasn't any big starring contract. 
In fact she hasn't any contract at all. 
But she has very definite ideas of 
what she wants to do — and she is go- 
ing to do it. 

"I have my feet on the ground," she 
said, with a quick smile. "With the 
years of experience I have in back of 
me I know just what I can do and 
what I can't do. It would be silly for 
me to shoot at things which are be- 
yond me, not in my field, and just as 
silly for me to ignore what I know I 
can do because I have done it already. 

"I do not kid myself and I do not 
want to kid anyone else — or have them 
kid me. 

"I am not going to play anything 
I do not want to play. I do not want 
a contract, where I will have to play 
any part assigned me by the studios, 
whether it is suitable or not. There 
are many fine pai-ts in pictures which 
I believe I can do, perhaps better than 
others, because of my long training on 
the stage and my experience in pictures. 
When I know of such a part, I can go 
after it, no matter what lot the pic- 
ture is being made upon. I am willing 
to do any part that gives me a real 
chance." 

I TOLD her what Adolphe Menjou 
had determined when he came back 
from Europe. He did not want the 
burden of being a star. He didn't 
want to be playing some mediocre part, 
just to be starred, when on some 
other lot was a part, perhaps smaller, 
but with greater possibilities. He will 
not only get fun. out of doing the things 
he likes, but he will have a chance to 
stand out in every role, rather than 
struggle to make a star part of bad 
material. 

"Yes, that is the way I feel," said 
Miss Ferguson. "I think — I believe — I 
can work up again the same thing 
which made me a star before and kept 
me a star on the New York stage. I 
see no reason why not. But I will not 
— cannot — do it by playing any old 
part, whether it's my style or not. 

"I have no false pride. It doesn't 
bother me that I was a star, and am not 
one now. I'm still Elsie Ferguson. I 
didn't start my career as a star, did I? 
I started in the chorus and worked up 
to be a star. I had extreme youth 
then, but I had no experience, no un- 
derstanding. What I have lost in that 
youth, I have gained in a thousand 
other ways. 

"My only fear is that I came back 
too soon." 

Her eyes were a little wistful, a lit- 
tle questioning. 



"What makes you think that?" 
"There are still so many imperfec- 
tions in the mechanical things connect- 
ed with the talkies. They've not per- 
fected the recording of the voice. The 
cutting difficulties have changed so 
much from the old days. They aren't 
able to handle tempo. 

"Every actor and actress knows that 
tempo is the most important thing in 
acting. It is lost in the talkies now. 
There is no building up to a climax; 
everything is the same speed from be- 
ginning to end. No play, constructed 
and acted like that, could succeed. It 
is a little difficult for anything coming 
from the stage. But, of course, all those 
things are being overcome. 

THE one thing that drives me mad 
is the way they yell 'Turning over' 
just as you start a scene. It pounds 
into my ears and all I can think of is 
'Going Over — ■' over the top and that 
I'm going to get my head shot off the 
moment I stick it over the trench. I 
just don't seem to be able to overcome 
those things. Lord knows I try. Me- 
chanical things especially just drive me 
crazy. That's why the movies have 
always been difficult for me. You see 
the mechanics so plainly when you 
are making a picture." 

Another reason brought Miss Fer- 
guson back to the screen. She wants 
to live in California with her hus- 
band. She is married to Frederick 
Worlock, a tall, dark, handsome En- 
glishman who came through the war 
with honor. He used to be an actor, 
but now he wants to write plays. 

I think right now Elsie Ferguson 
is more interested in his career than 
in her own. She talked about herself 
and her work only when I asked ques- 
tions. But she talked about her hus- 
band's playwriting, and what fun they 
had discussing things, and what a swell 
place California was for a writer, with- 
out any prompting. The two of them 
seem very happy and very much in 
love. A nice, companionable, close kind 
of love. 

"I'm glad to be back," Elsie said, as 
they stood in the doorway of their 
bungalow to say good-by. "I love Cali- 
fornia. We can live a normal, inter- 
esting life here. I'm crazy about the 
talkies. Once I get the technique, I 
know it will interest me as much — per- 
haps more — than the stage. I hope the 
people who were so kind to me when I 
was on the screen before will be glad 
to see me back. Could one — ? if it's all 
right — I'd like to send them my love 
and tell them I was always grateful 
for their friendship. They're the peo- 
ple I work for — that every actress 
works for. I went away because — I 
just had to talk. Now I can talk in 
pictures — everything is wonderful." 



Turn to Page 83 and read the new style 

REVIEWS OF THE NEW PICTURES 

By Frederick James Smith 

Concise and accurate descriptions of the new motion picture 

dramas, designed to save your time and money. Be sure to 

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119 



The New Movie Magazine 




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The Poor Little Rich Gir 



(Continued from page 89) 



boastful when they are the wives of 
men of wealth — when they can sport 
a couple of chinchilla coats and emer- 
ald rings. Their work becomes secon- 
dary because most of them are silly 
and frivolous and truly feminine. 
But not Hope Hampton. 

SHE is the essence of femininity, all 
right. Just take a peep at her fragile 
beauty that is made up of delicate, 
creamy skin; titian hair that is the 
delight of painters and color film ex- 
perts alike; and her graceful, gentle 
movements. The quintessence of love- 
liness. 

Yet Hope possesses qualities that are 
distinctly masculine. 

Stamina and grit. These should be 
put in capital letters for all aspiring 
young women to see. Determination. 
Backbone. 

These are a few of the splendid 
Hampton traits. These traits which 
carried her up from a small town 
Texas beauty to grand opera stardom 
. . . qualities that will carry her to still 
farther heights, if she so desires. I 
refer to the talkies, where the future 
of all the arts seems to lie. 

You feel these things about Hope 
when you are with her alone for a few 
moments. The very things she talks 
about, the shadow of determination 
that glitters in her soft eyes, like a 
stranger who, although not really a 
part of a household, is quite welcome. 

YOU tell yourself that she is a 
fragile, beauteous young person 
to charm the eye of the most exacting 
connoisseur. But all the time you are 
thinking these things you are aware 
that shining through all that gossa- 
mer beauty is a spirit of courage, 
strength, male fortitude. You try to 
shake that impression by staring hard 
at the mop of red, curly hair that 
looks as if it could only belong to a 
little girl. But you can't. It is there. 

That's the real Hope Hampton. The 
Hope who looks you square in the 
eye and declares: 

"I wish my husband was not quite so 
wealthy." 

A strange wish indeed in this day 
of the mighty dollar. But she ex- 
plains it by declaring that the poor 
girl who is ambitious has a better 
chance to succeed on the stage or in 
the movies than the one who has 
money behind her. 

"People just won't give credit to the 
rich girl who accomplishes things," she 
says; "they truly believe that it was 
the money that brought the success." 

Hope was a success in the movies 
before the advent of the talkies. She 
had everything that any girl desires 
who dreams of a motion picture 
career. Fame, beauty, worldly ac- 
claim. Yet even then she wasn't sat- 
isfied. 

"T FELT there was something greater 



thing more concrete than standing be- 
fore the camera and doing the things 
I was ordered to do. 

"Sometimes when I saw myself on 
the screen I got a feeling that I had 
left out something. Oh, it is hard to 
explain, or, at least, I couldn't under- 
stand it then. Now I know. I think 
I wanted to talk, use my voice, pro- 
ject my real self. 

"I didn't know then that the talkies 
were coming in and would make all 
that possible. 

"At any rate, I quit the movies to 
study acting and voice culture. I had 
always had a singing voice, but it was 
my husband who discovered its possi- 
bilities. He thought enough of it, any- 
way, to encourage me in my study of 
grand opera. 

"Now that I've had a taste of it, 
I love it. Some day I hope to reach the 
goal I've set out for myself." 

What goal is she trying to reach, 
this charming creature who has al- 
ready been a star of the screen and 
has sung grand opera roles both here 
and in Paris? Has that goal any- 
thing to do with the talkies? 

Ask her that and she smiles. A 
mysterious, Mona Lisa smile. 

"Well, yes," she says, "in a way." 

YOU wait and she looks at you 
through dreamy, eager eyes and 
says: 

"My real love is grand opera. I'll 
never give up that dream. 

"But the talkies are a wonderful 
thing. I've had several offers that I 
am considering. I'd like to make a 
talkie or two and see what it would 
be like now. But my opera career 
comes first." 

You gaze at this wisp of a woman 
in utter amazement. 

Rich, beautiful, a life of elegance 
before her, and yet she prefers to 
study difficult arias eight hours a day, 
deny herself many personal luxuries, 
as those who sing opera must do, and 
keep regular, simple hours. 

Is it any wonder she has been a 
success? 

The talkies loom on her horizon 
now. Opportunities are hers for the 
taking. She's considering them all, in 
between preparing for her season of 
grand opera. This Summer she sings 
in Europe with the Monte Carlo Opera 
Company. In October she will sing in 
four different operas with Gigli of 
the Metropolitan Opera Company in 
California. After that, who knows? 

However, California is a part of 
Hollywood, they say. Perhaps this 
proximity to the scene of her early 
success may have some deep signifi- 
cance. Let us hope so. 

At any rate, everyone is speculating 
if the talkies will lure Hope back to 
the screen again. 

Maybe we shall hear Hope in grand 
opera in the movies, for opera has 
come to the realm of the silvered 



to achieve," she explains, "some- screen. 



Do you follow Herb Howe's Hollywood chat every month? 
Mr. Howe's comments appear in no other publication. 



120 



The New Movie Magazine 



TheUnknown Charlie Chaplin 



(Continued from page 118) 



Next Month Jim Tully will resume his fascinating adventures in 
Interviewing. Watch for this feature. 



tain awe. He is listened to with rapt 
attention by people who know even less 
about the subject of which he is talk- 
ing than he does himself. 

WHISTLER accused Oscar "Wilde 
of taking the crumbs from his 
table and scattering them in the prov- 
inces. Chaplin, while often sharing 
social honors with Madame Elinor 
Glyn, is about on her level as a student. 
Gifted with a powerful mind, he makes 
no use of it. 

Chaplin is a peddler of intellectual 
crumbs. 

The comedian was sued some time 
ago by a writer who claimed an idea 
had been stolen. The majority of the 
jury before whom the case was tried 
was for conviction. Although I do not 
know the full history of the case, I 
would be inclined to lean toward the 
innocence of Chaplin. In my opinion, 
his honesty is beyond question. Being 
quite human, he has his petty qualities. 
But he is above deceit and connivance 
as practiced so frequently in the mod- 
ern business and political world. He 
may be petty in order to save himself, 
but as long as other citizens let him 
alone, Charlie will treat them likewise. 
He is much too self-centered to worry 
over or mix much with the affairs of 
others. He may thumb his nose at 
pomposity and hypocrisy, but not while 
it is watching. 

When I contracted to write the life 
of Chaplin for Pictorial Review, the 
editors asked that I write the comedian 
and explain my purpose. Their inten- 
tion, although perfectly just, was one 
of utmost unkindness toward the little 



genius. Accordingly, I wrote to Chap- 
lin and told him that I would do all in 
my power to be gentle, or words to that 
effect. 

He did not answer my letter. In- 
stead, through his New York attorney, 
he filed suit against the magazine, and 
against me, too, I think, -for a half 
million dollars. He was a magnificent 
optimist. 

Common sense on the part of attor- 
ney and jester would have told them 
both that no magazine such as Pictorial 
Review, read mostly by women and chil- 
dren, would have allowed anything un- 
kind or unjust to be printed against the 
idol of millions of readers. 

Expensive lawyers were retained 
on both sides. My 'manuscript was 
carefully combed until it was as lifeless 
as a romantic serial. The case went to 
trial before Federal Judge Thacher. He 
dismissed it almost immediately. 

Hoover has since promoted Judge 
Thacher to a higher position in Wash- 
ington. Whether the judge's action in 
regard to my case was read at the time 
by the future president, I do not know. 
But the life story ran in the magazine. 

It was, without doubt, the greatest 
piece of publicity Chaplin ever received. 
So far he has not thanked me. 

I have often wondered just why he 
sued the magazine. Did he imagine I 
would write something different? 

Charles Chaplin is, as men in general 
are measured, a high type of citizen. 
He attends as many dull dinner parties 
as any Rotarian. But, all in all, he is 
a far from usual fellow, and, as they 
say in the hinterland of Ohio, "I am 
glad to have metten him." 




Claudette Colbert has departed on a five months' tour of the world with her 
husband, Norman Foster. Miss Colbert completed her role in the new talkie 
version of "Manslaughter" before her departure. The world tour is being 
made on a freighter — so the popular star will be far from the maddening 
throng for her lengthy vacation. 



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121 



The New Movie Magazine 



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122 




"he "hunder "hief 



{Continued from page 33) 



expends enough energy to move a good- 
sized mountain in attempting to make 
the bid — and nine times out of ten pulls 
a rabbit out of a hat. 

If her partner is a good player, she 
calls attention to his mistakes in the 
manner of Queen Elizabeth sentencing 
Essex to the block. If he isn't a good 
player, she smiles benignly and pets 
him on the back for losing only two 
tricks by misplays. 

As Bill Haines says "Playing bridge 
with Marie is like living through a cy- 
clone. But it's stimulating. I'd rather 
play with her than with Work, myself." 

SPEAKING of work— Marie Dress- 
ier is the actress to her fingertips. 
She has that poise, that graciousness, 
that brilliant play of voice and facial 
expression, that ability to make her 
point which are part of the finished 
personality of every great stage star, 
as ease of muscle and bodily control 
belong to the great athlete. 

Talk to Ina Claire for an hour and 
conversation with any woman, no mat- 
ter how sweet she may be or how 
worth while her thoughts, becomes as 
insipid as a cold cup of coffee. 

The let-down from Marie's conver- 
sation to that of most people is the let- 
down from Helen Wills to a high school 
champ. 

When she talks — and she loves to 
talk, loves an audience, loves people — 
when she talks all that swift change 
of mood, all the delicate shadings to 
awaken laughs and heart throbs, the lit- 
tle pauses for emphasis, the mobile 
play of every feature, hold you spell- 
bound as she holds an audience. Yet 
she's never affected. It's all become 



part of herself. That is Marie Dress- 
ier. 

If you saw Marie Dressier in "The 
Callahans and the Murphys," which 
brought her back to the sci'een after a 
long absence, it may be difficult to re- 
alize that Marie Dressier is very much 
the grande dame — oh, very much. No 
one takes liberties, no one ignores the 
usual formalities of polite society in 
her presence. 

I KNOW one young man who had the 
misfortune one evening after dinner 
in her house to follow an old Chinese 
custom, which in that older civilization 
is considered naught but a compliment 
to the excellent food provided by one's 
host. In the good old Anglo-Saxon 
which is becoming more and more pop- 
ular all the time, he belched. 

Marie turned upon him. a frozen 
countenance and a lifted eyebrow. 

"Perhaps you had better take a lit- 
tle walk in the garden" she said. "I am 
a comedienne only on the screen." 

That is true. Marie is witty, she 
tells a funny story well, her laugh is 
hearty, but unlike her friend and co- 
star, Polly Moran, she doesn't do spon- 
taneously funny things, she never pulls 
her stuff in the drawing-room. Polly 
just naturally can't help being funny. 
Marie can — and does. 

Perhaps the sweetest thing about Ma- 
rie Dressier is her honest interest in 
everybody else. What you are doing, 
how your life and work are progressing, 
is of real interest to her. If you don't 
see her for months, she remembers how 
old all your children are, and their 
names and some little story about them. 

There is no affectation in her idolatry 



COMING 

in Next Month's New Movie 

HERB HOWE'S HISTORY 
OF HOLLYWOOD 



Remember Herb Howe's Guide Book to Hollywood? That 
was perhaps the most popular feature published by NEW 
MOVIE up to date. Next month Mr. Howe relates the fasci- 
nating and colorful history of the world's most romantic town 
from the days of the Indians and the coming of the pioneers. 

Here is a feature you will want to save. Watch for it! 
Mr. Howe's History of Hollywood will be illustrated with 
numerous unpublished photographs showing the old and the 
new Hollywood. 



The New Movie Magazine 



where children are concerned. Frances 
Marion, the famous writer, is her clos- 
est friend, and Marie will desert any 
party on Sunday afternoon, no matter 
how brilliant, to play with the kids in 
their sandpile. 

Really, she should have had a dozen 
running around. But the one great love 
affair of her life was overshadowed 
with tragedy. The man she loved was 
for many years an invalid and Marie 
cared for him and nursed him to the 
day of his death. In spite of the un- 
fortunate circumstances, Marie would 
have no one else. So her life has been 
lonely at times, and lacked those things 
which should have been hers — a home 
and children. Much of that repression, 
and of the grief she felt at his passing, 
have gone to make the undying pathos 




What? Formal evening pajamas! 
Honest. They appear in Joan 
Crawford's "Our Blushing Brides" and 
were designed by Adrian. Will the 
modern girl adopt them? Who knows? 
The young woman inside is one of the 
pretty models in the picture. 



that is hers in such parts as Marie 
Smith in "Caught Short." 

MARIE never wanted to be a come- 
dienne. 

Like all great comics, she is terrifically 
sensitive. Her feelings are easily hurt. 
Her lower lip trembles and she assumes 
an enormous dignity. Probably no wom- 
an was ever more woman than Marie 
Dressier. 

And let me tell you something that I 
have discovered from long association 
with the great women comics, such as 
Fannie Brice and Marie Dressier and 
Polly Moran. No woman likes to be 
funny. It robs her immediately of 
something that is a woman's birthright. 
They live above it, they solace the deep 
feelings which must be beneath all 
comedy with the pride of giving laugh- 
ter to the world, but they carry within 
themselves a certain wistful withdraw- 
al, a spot of hurt pride. 

Polly Moran can kid about herself 
and her figure. But even her best 
friends can't kid her about it — and Pol- 
ly is a great scout and has a sense of 
humor big enough to cover everything 
else in the world. 

So always Marie Dressier — for thir- 
teen years the great drawing card of 
Weber and Fields — has wanted to play 
drama. She knows what everyone con- 
nected with the theater knows, that 
comedy is the hardest thing on earth 
to play, the supreme test of the actor. 
Anyone who can play high comedy can 
take a rest in a heavy dramatic role. 
There was more dramatic power, more 
actual technique and hard work in Ina 
Claire's performance in "The Gold Dig- 
gers" than in Jeanne Eagels's Sadie 
Thompson. 

Thus the role in "Anna Christie," 
which had a deep undercurrent of 
drama and tragedy, delighted her. 

WE were sitting in a corner at one 
of Sadie Murray's parties one 
night — Sadie is Beverly Hills' leading 
hostess and the Alice Roosevelt ef Hol- 
lywood — when she told me about it. 

"It's a marvelous thing to have a 
dream come true after forty years," 
she said, giving me that encompassing 
smile. "I have waited forty years to 
play a part that had drama as well as 
comedy. I used to go around New York 
when I was with Weber and Fields, beg- 
ging managers to give me a chance in 
drama. Begging them, my dear. And 
they'd pat me on the back and tell me 
how funny I was. 

"Charlie Frohman was going to give 
me a chance. He thought I could do it. 
We had it all arranged when the Ti- 
tanic went down and he went down 
with it. Even the icebergs were against 
me. So I went into 'Tillie's Night- 
mare' and played it for so many years 
it became an institution — and I finally 
did it in pictures." 

Yet deep down, Marie loves comedy, 
respects it. 

I sat next to her at Mabel Normand's 
funeral. I felt pretty badly myself, be-, 
cause I had loved Mabel Normand like 
a sister, we had been chums in our 
youth. I tried to keep a grip on my- 
self, not to break down, and I was do- 
ing pretty well as I gazed at the masses 
of flowers that hid Mabel from us for- 
ever, when I looked at Marie's face and 
that finished me. 

"The waste," she whispered, "the 
waste. The genius. That noble spirit. 
To go so soon and with so little ac- 
complished of all she might have done." 
Later, as we all stood outside, she said 
(Continued on -page 125) 



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123 



The New Movie Magazine 




The N E W 
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best roles. Specially posed 
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The Star motion picture theater at Westbrook, Maine, where Rudy Vallee worked 
his way from sweeper to projection machine operator. 

Home Town Stories of the Stars 

(Continued from page 45) 



in having a college education was to 
attain culture, poise and to know how to 
obtain more knowledge. Although Rudy 
remained at Maine University only a 
year he experienced his first taste of 
fame in a small way. 

Scattered all over the country are 
men and women who boast that they 
used to dance to Rudy's saxophone, 
playing back in the days when they 
were college students. The love for 
this university has never ceased to be 
big and sincere. Today he has popular- 
ized University of Maine's Stein Song 
all over the country. Thousands of 
radio fans who have heard Rudy's 
interpretation of this stirring march- 
ing song have begged broadcasting sta- 
tions that it be repeated. 

WHILE in the university he went 
to New York to see Rudy Wie- 
doeft, from whom he got the nickname 
"Rudy." Mr. Wiedoeft told him that 
his artistic ability was there, but that 
he lacked technique. If Rudy lacked 
technique he would achieve it. And he 
did, by playing three nights a week 
at dances to earn his way through col- 
lege and the other nights practicing in 
various buildings on the campus. Dur- 
ing the year some prig complained 
that his practicing kept the students 
awake. Rudy then hired the town 
hall and an old Victor. There, night 
after night and far into the morning 
he would practice with the phono- 
graph records to guide him as a 
teacher. 

The next year he went to Yale. There 
he organized the Yale Collegians — the 
same bunch of boys that are now with 
him as the Connecticut Yankees. The 
same popularity that later was to come 
to him in the public eye was his while 
he was at Yale. 

He first became known as a crooner 
of tunes to his fellow students when 



he and his orchestra were engaged to 
play during meals in the college dining 
hall. The Yale men had expressed the 
opinion that sometimes the food was 
"not so hot" but that good music would 
have a balancing influence. Later, when 
the college executives felt the need of 
reducing expenses, the dinner orchestra 
went under the knife. A most awful 
howl of protest went up from the stu- 
dent body, but the orders stood. Two 
days of eating, without the mellowing 
influence of Rudy's crooning, passed 
and became unendurable. 

One night there was the usual gath- 
ering of 500 and more students in the 
dining hall, and apparently nothing 
was unusual. At a given signal, how- 
ever, the lights went out and pande- 
monium broke loose. Tables, chairs, 
dishes and food were overthrown and 
thrown over everything and in a united 
voice the cry went up "We want Vallee 
and his music." Order was restored and 
the happy ending came with the re- 
appearance, permanently, of Rudy and 
his music. 

RUDY received his A.B. at Yale in 
June, 1927. He then took his boys 
to New York, where they started to 
play in Don Dickerman's Heigh-Ho 
Club in the Village. 

"We got the chance to play in this 
club catering to the ultra-elite and we 
won. I worked out my own ideas. No 
one helped or hindered me." 

Loathing steady night engagements, 
he tried to break into the club racket 
which paid better. Finally he went to 
Herman Birnie. Birnie, who really 
needed a sax player, wasn't favorably 
impressed but later, after looking 
through Rudy's scrapbook, changed his 
mind and Rudy came back the second 
time. The third time Birnie gave him 
an audience. Rehearsal was ready 
(Continued on page 127) 



124 



The New Movie Magazine 



The Thunder Thief 

{Continued from page 123) 

to Mary Pickford and Marion Davies, 
"There is the end of genius. None of 
us could hold a candle to her. We have 
been here today — you and I and Charlie 
Chaplin and Harold Lloyd and Ben 
Turpin and Constance Talmadge and 
Roscoe Arbuckle and Mack Sennett, all 
of us who have loved comedy, to pay 
our last respect to the very spirit of 
comedy, to the muse of comedy. The 
joy she could have given the world! 
Let us not forget that, nor forget al- 
ways to defend her memory against 
those who did not know her and could 
not understand the problems and the 
circumstances which defeated her. I 
wish she had been my daughter." 

There speaks the real Marie Dressier. 

YET there is a ruthless, impatient 
screak in her, too. An old-time stage 
star who has a habit of long reminis- 
censes which bore almost to extinction, 
came up to her on the lot the other day. 

"Go away," she said, "go right away. 
I'm, too tired. I haven't time. Do go 
away." 

Half an hour later on the set I saw 
her take little Sally Eilers off behind 
a bit of scenery and spend two hard 
hours teaching pretty Sally how to get 
the most out of her lines. 

Marie loves work — her own and ev- 
erybody else's. If ever a trouper died 
in her boots, Marie will. Yet she's al- 
ways crabbing. 

When after "The Callahans and the 
Murphys" she was out for almost a 
year, she literally had fits all over the 
place. 

"Everything is going to be all right," 
Frances Marion told her. "Just be pa- 
tient." 

"I can't be patient," said Marie, with 
that well-known twist of her shoulders. 
"I'm not a patient woman. I want 
work. I've worked since I was fifteen. 
I want a job." 

When she began to get one job after 
another, two pictures at once, she said, 
"What do they think I am — triplets? I 
don't do anything but work, work, work. 
Can't they give a woman a rest. I'm 
sorry. I'd love to play bridge, but I'm 
too tired. I'm too tired to do anything 
but work." 

But she always has time to help ev- 
erybody else, straighten out everything, 
be on hand when there is trouble. And 
she said recently, "If I'd keep my nose 
out of other people's business and my 
mouth shut, I wouldn't be so tired 
nights." 

But then she wouldn't be Marie 
Dressier. 

Born in Canada, she has a passion 
for Europe, where she is very popular 
socially — a distinguished figure among 
distinguished groups. They understand 
and value Marie. She is invited to stay 
in English country houses and French 
chateaux and Italian villas. 

"When I'm through in pictures," she 
says, "I shall live in Europe." 

But I doubt if Marie will ever be 
through in pictures. 



Watch for Herb Howe's 
HISTORY OF 
HOLLYWOOD 

in Next Month's NEW MOVIE 






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The New Movie Magazine 



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Cecil De Mille, Kay Johnson, his leading woman, and Elsie Janis, who is now 
writing Hollywood songs, caught between scenes of the new De Mille production, 

"Madam Satan." 

Won by a Nose 

(Continued from page 36) 

sion, the person without the third 
bump is lacking in ability to defend 
against aggression in others. This 
leads to the development of timidity, 
jealousy and sarcasm, each more of an 
exaggeration of the same basic lack. 
These are unpleasant traits, but ones 
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selves. This lack of self defense makes 
an actress with a retrousse nose an 
ideal person for the slick-tongued sales- 
men, glib Romeos and poor relations. 
She may realize she is weak, yet will 
give in in spite of her good sense. 

The string of poor relations and 
other dependents that hang on the 
skirts of picture stars is still further 
testimony for this lack of self de- 
fense. Verily the retrousse is the 
actress's nose! 

A racial example of this lack are the 
Chinese. Of passive nature, idealists, 
dreamers, they possess the concave 
nose. 



THE retrousse is frequently accom- 
panied by the short upper lip. 
This was considered a beauty point, 
and still is, to some extent, for the 
mouth when at rest shows part of the 
teeth and is considered to lend anima- 
tion and appeal to the face. The 
phrenologist's side of the story is that 
a short upper lip means love of ap- 
plause. The retrousse, which in itself 
means lack of force and ambition, must 
have a feature in the face to supply 
this lack. An overpowering love of ap- 
plause is told by the short lip. This 
then supplies the motive force. 

Any true artist must possess this, 
whether found in the nose, lip or some 



other feature. The response of an 
artist to an audience is a well-known 
phrase for that pickup in her work 
that the actress has when the applause 
tells her the audience is with her. A 
true artist exceeds himself when stim- 
ulated by applause. Love of applause, 
as it is called, laudation, is a heady 
stimulant to ambition, and the short 
upper lip supplies this. 

Love of display, of dress, of form 
and color, are accompanying traits in 
the short lip. The dress shops and 
jewelers and furniture shops tell the 
tale in Hollywood. 

WHILE the retrousse expresses 
weakness, as opposed to force in 
the character, this trait can be made 
up for by width of nose, at the tip, or 
along the whole nose, viewing it from 
the front. Vivian Duncan, of the famous 
Duncan Sisters, possesses such a nose. 
A wide nostril also expresses strength. 
Cogitation, or thoughtfulness, is ex- 
pressed by the base of the nostril. This 
is called by the phrenologists reason. 
Look at Vivian Duncan; when con- 
fronted with all the charm of Nils 
Asther, did she lose her head as most 
girls would? No, she actually broke 
her engagement to think it over while 
she went on a long tour and, while the 
engagement has been re-established, the 
marriage does not seem so imminent 
yet. Then there is Clara Bow and 
Harry Richman; the red hair and re- 
trousse nose can't get Clara past the 
cogitativeness of the broad-ended nose. 
Without this wide nose end, the re- 
trousse is not a reasoning nose. It is 
an emotional nose, a feminine nose that 
(Continued on page 130) 



126 



The New Movie Magazine 



HomeTownStoriesoftheStars 



(Continued from page 124) 



when he invited Rudy to play. There 
in the dusk of a smoky room with other 
musicians around Rudy Vallee played 
his saxophone. Then and there Birnie 
offered him nine engagements at $14 
a week, barely enough to keep from 
starvation. It was the beginning of 
the breaks. 

On March 13, 1929, the folks back 
home in Maine received word that Rudy 
had taken a contract with the Para- 
mount Company of New York at a sal- 
ary of $4,000 a week for a period of 
ten weeks. A letter to his parents 
stated that he had insured his voice 
for $250,000. The breaks were coming 
fast. 

Previous to the contract he was a 
National Broadcasting artist and broke 
records at a Keith Broadway theater. 
It was during one of those broadcasts 
that he announced to his orchestra that 
he was going to sing the choruses of 
the selections. The boys thought he 
had gone "daff." Rudy sang, however, 
and the result was more fame. 

ONE of the biggest breaks was the 
trip to Hollywood where he and 
the Yankees made "The Vagabond 
Lover" for RKO. Rudy's own song, 
"The Vagabond Lover," was one of the 
popular hits of the day. Flashlights 
boomed and cameras cranked at the 
Santa Fe station at Hollywood and 
the Governor and Mayor's representa- 
tives pushed with the belles of filmland 
for a glimpse of the crooner of love 
songs. A twelve-foot key was pre- 
sented to him. It was a 'typical movie 
welcome, with the exception that the 
cynosure of all eyes had his arms 
around a little wisp of a woman, his 
mother, and a rotund man, his father. 
Not allowing them to stand in the 
background, Rudy introduced them, too, 
and the crowd went mad with delight. 

"It's because you are my mother 
that people tell you those nice things 
about me," he remarked to his mother 
when she repeated praise heard on a 
certain occasion. 

"And that has always been his atti- 
tude toward his success," she explained. 
"He hardly ever takes credit for him- 
self. In the band it's the boys and in 
the picture it was the other members 
of the cast." 

From Hollywood Rudy went back to 
New York. Back to his beloved radio, 
night club, theater public which necessi- 
tates getting up in the morning be- 
tween eight and nine o'clock, devoting 
the morning to business at hand, such 
as making records, holding rehearsals 
and sitting for his pictures. Between 
twelve and one o'clock he goes to the 
theater where his orchestra plays from 
four to five shows a day. At eleven 
o'clock .the day is still young. Three 
hours more of music at his Villa Vallee, 
a place of mirrored, paneled walls and 
soft hued hangings, brings the clock 
near 3 A. M. That puts him to bed 
about four in the morning. He appears 
twice a week now on NBC; Thursday 
night on a coast-to-coast chain and 
late Saturday nights in a broadcast 
from his club on WEAF only. 



HIS book, "Vagabond Dreams Come 
True," was published the latter 
part of last winter. Rudy's autobi- 
ography is a straightforward account 
of his struggles, sincerity marking the 
entire story. One cannot help but ad- 
mire him for this. His love of music 
is stressed throughout the story. He 
proves in the book that he is not a 
home wrecker, a warbling sheik with 
lots of luck and a few brains. Rather 
does he prove that he is a capable 
young man who has brought talent and 
intelligence and hard work to his fight 
for success. 

He's a tall, blond-haired youth with 
a bit of curl in his hair. He has blue 
eyes, peculiarly close together and half 
open, as if he were sleepy. But he's no 
Adonis. Rather not, just a clean Amer- 
ican boy with a personality. 

"I have no illusions about myself, my 
success or my voice. My voice isn't 
musical in the exact sense of the word. 
I have tried to sing songs that tell a 
story — sentimental songs that bring 
back memories. I try to sing clearly, 
pronouncing each word distinctly. The 
sympathetic quality comes from my 
mother, whose voice has a soothing 
quality. 

"I realize that ours is a radio band. 
We owe our success to the radio fan. 
I hope that the day will never come 
when I am not a source of pleasure and 
interest on the air. I know that I will 
always want to broadcast, as I am 
never so happy as when before the 
microphone. When I broadcast I put 
my theories into practice and these the- 
ories are that people are tired of jazz. 
Millions come home worn out after a 
day's work with the jangle-jangle of 
life's activities still in their ears and 
they want to relax, to listen to some- 
thing soothing and softly sung." 

THE personality of this boy whose 
meteoric rise to fame has carved a 
niche for himself in the public's affec- 
tion is an amazing combination of show- 
manship and reticence. His views on 
love and marriage would be considered 
old-fashioned. His showmanship is best 
expressed by these words — "I know I 
have a damned good band. I slaved my 
fingers to the bone to whip it into 
shape. I felt that some day I would 
receive tremendous results. It was only 
a question of sincerity and feeling. Any 
little thing I ever did in my life, I 
tried to do better than anybody else. 
I dislike the commonplace. If I did 
anything seriously, I wouldn't present 
it to you unless it were different, yet 
simple, natural, so that streetcar con- 
ductors, stenographers, mothers, flap- 
pers or grocerymen would understand." 
If fame is fleeting — and who can 
deny it is not— it is not unattainable 
for a time. Those who capture it and 
hold it for a short space of years pos- 
sess a quality that eludes being caught 
and shaped into words. Perhaps Rudy 
Vallee can be more easily understood if 
you know he receives more money a 
year than the President of the United 
States, but he shaves himself and de- 
lights to eat in cafeterias. 



The Home Town Stories of Amos 'n' Andy 
The real boyhood romances of radio's most popular idols who are coming 
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The New Movie Magazine 




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128 




Last Days of Valentino 

Lest We Forget — RUDOLPH VALENTINO 
Born — Castellaneta, Italy, on May 6, 1895 
Died — New York City, on August 23, 1926 

(Continued from page 43) 



though possessed of the devil, he would 
leap up and go forth to a company 
that was always awaiting him. 

He squandered money in lavish gifts. 
He bought a hundred suits of clothes. 
He indulged in all the expensive pleas- 
ures of the most sirenic city of the 
world. 

Suddenly, tired of Paris, he drove his 
Isotta Fraschini, costing ten thousand 
dollars, to the Riviera. One night in 
the Casino of Cannes he flung away a 
half million francs at baccarat, which 
he did not know how to play, simply 
because he had the whim of impressing 
a pretty girl at the table. 

MONEY never meant anything to 
Rudie. When he parted with 
Natacha he asked her to choose what 
she wanted. She selected a collection of 
ivories which he had purchased in India 
at a cost of a hundred thousand dollars. 
He gave her, besides, the furnishings 
of his New York apartment and jewels 
that have been estimated at fifty to a 
hundred thousand. 

From Cannes, Rudie motored to 
Paris. There again he plunged into 
the vertigo of night pleasures. 

"He goes through life like a bull 
through a china shop," exclaimed Ber- 
telli, American news correspondent in 
Paris. 

On a sudden whim, Rudie took off for 
Berlin without heeding vise regula- 
tions. He entered Germany easily 
enough but was refused permission to 
leave. His papers were not in order. 
The Germans resented a movie actor 
taking such privileges. They particu- 
larly resented Rudolph Valentino, who 
had played in the anti-German picture, 
"The Four Horsemen." His case was 
so serious that Manuel appealed to 
Ortiz Rubio, new president of Mexico, 
who was then Mexican Ambassador to 
Germany. Senor Rubio sent Rudie's 
passport direct to Stresemann. He 
sent it at nine o'clock in the morning. 
It was not returned until six that eve- 
ning with Stresemann's 0. K. 

Back in Paris, Manuel decided to give 
Rudie a dinner that would delight him. 
Rudie did not seek dissipation; his 
craving was aristocratic society. He 
wanted more than anything else to 
meet the Prince of Wales, an ambition 
that was never realized. 

The banquet Manuel arranged for 
Rudie was one of the most brilliant 
Paris has known. It delighted the boy 
spirit of Rodolpho. On his right sat 
the Grand Duke Alexander of Russia, 
on his left Madame Bertelli. Circling 
the great round table were such celebri- 
ties as the Comtesse Bernsdorff, Com- 
tesse D'Orsay, Lady Millicent Hawes, 
Baronne Daubet, Marquis de Castel- 
lane, Comte San Just, Henri Letellier, 
M. Andre de Fouquieres, the Mexican 
Ambassador, and many other distin- 
guished persons of social and diplo- 
matic circles. 

I think that night the worldly dream 



of the simple peasant of Apulia was 
completely realized. The Paris papers 
next day said: "Forty pairs of friendly 
eyes drank in the magic of the Master 
Sheik at a luxurious dinner given in 
his honor at the Ritz. . . ." 

BACK in the United States to which 
he was forced to return by the 
terms of his contract, Rudie found ex- 
hilaration in driving his car sixty miles 
an hour. Driving from San Francisco 
to Los Angeles, he shot straight into a 
freight train. Oddly a post intervened 
and whirled the car around. Undaunted, 
laughing, Rudie leaped out and took a 
picture of the wreck. 

His continued rashness brought a 
rebuke in the form of an editorial in 
The Los Angeles Examiner'. 

Rudie was not attempting suicide. 
He had too much egotism for that. It 
was simply that he was jaded with the 
things the world had given him, disap- 
pointed in those denied him. So he 
sought the thrills of the moment. 

He was taken from a party in New 
York to a hospital, where he died, with- 
out a friend near him. No one knows 
what his last words were. I like to 
think, knowing Rudie, that they were 
the same he murmured dying in "The 
Four Horsemen" — Je suis content. 

The ceremonials of three weeks at- 
tending his burial were arranged by 
producers who wished to keep publicity 
alive while prints of his last picture 
were being hastily distributed. 

FOR a week his body lay in state like 
an emperor's, the populace surging 
around the catafalque to pay tribute 
or gaze curiously. Then, in triumph, 
he was brought back to Hollywood, 
whose magic lamps had transformed 
him in the space of five years from a 
penniless cabaret dancer into a fabu- 
lous Csesar of a fabulous realm. Mean- 
while, behind the curtain of these pro- 
longed ceremonials, the film men 
worked feverishly, rushing out two hun- 
dred prints of his last picture; previ- 
ously when a favorite had died, his un- 
released picture had been a total loss, 
but theaters cashed in on Rudie's while 
headlines fanned the public interest — 
and to their surprise continued to cash 
in long after the funereal fanfare had 
passed. 

Thus, even as taps sounded over his 
earthly triumph, there was the insist- 
ent note of a relentless irony. 

"Requiem aeternam dona eis Domine." 
Incense buried the flowers in a cloud, 
submerged their fragrance. Over the 
heads of the kneeling people rolled, at 
length, the final chant of the requiem 
mass. Cameras clicked, flashlights 
boomed. In the street the milling thou- 
sands were held back by police. 

He went to his grave as princes go. 

Through it all I kept recalling what 
he once said to me in a long discussion 
of spiritual matters: "Why should I go 
to church, since God is everywhere?" 



The New Movie Magazine 



We Have With Us Tonight 



(Continued from page 91) 



MARY BRIAN: Let all you peo- 
ple who have scornfully asked 
the question, "What becomes of all the 
beauty contest winners?" now hang 
your heads in shame, for next on the 
program tonight we have one of them. 
She is none other than Mary Brian. 
Now don't you wish you hadn't asked 
it? It shows that some of them reach 
the top and turn out all right after all. 

Our Mary was born in Corsicana, 
Texas, February 17, 1908, and the name 
written down in the Bible is Louise 
Dantzler. 

This is how she got the name Mary 
Brian: She was named for her mother, 
whose first name was Louise; when 
time came for her to select her name 
she decided to take some other name 
than her mother's and chose the good 
old stand-by of Mary. Her father's 
middle name was Brian, and also she 
was attending the Bryan High School 
in Dallas, and so Mary Brian she be- 
came. 

Here is a queer thing about Mary 
Brian — she is one of the loveliest and 
most delicate of the film stars. To look 
at her you would think she had been 
brought up on a down pillow on Park 
Avenue. But not at all. Mary's father 
died when she was a month old and her 
mother took her to an uncle's ranch in 
Texas, so she grew up in the great 
open spaces where men are men and a 
girl can shoot a rattlesnake in the eye 
at thirty paces. 

Leaving Texas, her mother brought 
her to Los Angeles and while they were 
living there a neighbor made a snap- 
shot of Mary and, unknown to her, en- 
tered the picture in a beauty contest. 
When the judges saw the picture they 
broke into poetry and Mary broke into 
fame. Her first film part was as 
Wendy in "Peter Pan." 

No, boys, she is not married. She 
lives with her mother in an apartment, 
but I won't tell you the address. It 
wouldn't be fair to the traffic officers in 
Hollywood. When they saw you rush- 
ing in, they'd think Iowa was having its 
annual reunion. 

t> ETTY COMPSON: Do you remem- 
•*-* ber in the days of old how it used 
to be that all the Presidents of the 
United States had to be born in a log 
cabin, or they were simply considered 
no good ? In fact, a man didn't dare 
to try to run unless he could say that 
he had been born in a log cabin. 

Time passed and the log cabin faded 
out and no more was heard of it. And 
now bang! here is a movie star who 
was born in one— BETTY COMPSON. 
And it was in a town that had prac- 
tically nothing but log cabins, for it 
was the small mininsr hamlet of Frisco, 
Utah — so small that an eagle had to 
put on glasses to see it. The date the 
big event occurred in the log cabin was 
March 18, 1897. 

But the name they sprinkled on her 
in the little log cabin wasn't Betty 
Compson. It was Luicieme Compson, 
but whoever heard of the given name 
Luicieme? 

Well, that's the reason Luicieme 
changed it. 

Betty's father was a mining engineer 
and # a college graduate, but luck was 
against him and he never found the 
mother lode. He died when Betty was 



only a child and the wolf came and 
scratched the bark off the logs. 

Betty's mother picked her up and 
they moved to Salt Lake City, and 
there Betty grew up at 464 Third Ave- 
nue, if you happen to stroll down 
Third Avenue and want to look at the 
number. 

The wolf followed them and kept 
snapping at their heels until Betty's 
mother had to take a job in the linen 
room at Hotel Utah in that city, and 
Betty, at the age of fifteen, had to take 
a job playing in the orchestra at the 
Mission Theatre. At the age of sixteen 
she started out alone for San Francisco 
to conquer the world with her fiddle, 
so you see Betty has a backbone where 
a backbone ought to be. 

She conquered the world all right, 
but it was with her acting, although 
she could go out today and bring home 
the family meat with her fiddle-bow. 

October 14, 1924, she married James 
Cruze who gave the world "The Cov- 
ered Wagon." But Jimmie and Betty 
have separated. 

GEORGE O'BRIEN: If you have 
ever been a bad man in San Fran- 
cisco you must have met George 
O'Brien's father, as he was Chief of 
Police in San Francisco for twenty 
years and knew practically everybody 
in that racket. But if you have just 
entered upon such a career recently, 
you may be excused for not knowing 
him, as he has given up meeting under- 
world characters and is now living in 
Hollywood. 

Here in San Francisco, George was 
born September 1, 1900. George O'Brien 
has the best physique in Hollywood, 
and when he hangs a cane on his arm 
and walks down Hollywood Boulevard, 
girls follow along behind him, sighing 
and quoting poetry. And when he puts 
on a bathing suit and saunters up and 
down the beach before taking a dip, 
the police have to come and club the 
girls back so that the tide can come in. 

Once it looked as if he and Olive 
Borden were going to Niagara Falls 
together, but quite a bit of water has 
gone over since then, and they have 
not taken the plunge, so, girls, you 
still have a chance to get on the good 
side of the police department. 

George lives with his father at Mal- 
ibu Beach, which is a suburb of Hol- 
lywood (or so Hollywood says) and 
every morning he puts on his bathing 
suit and goes out for a swim. Bring 
your field glasses and come. 

George does not smoke, and he does 
not drink, so you would never have to 
sweep up any cigarette ashes or a hus- 
band from the floor. If you prefer the 
kind of husband who gets lit up and is 
the life of the party until the others 
have gone home — and next morning is 
as cross as Leo, the M-G-M lion, be- 
ing moved to a new cage, then don't 
send your picture and description to 
George, for he hates liquor and you 
could get a spoonful of liauor down his 
throat only by throwing him and using 
a medicine dropper. And to do this 
you'd have to call in the marines, so 
maybe you had better take him just as 
he is. 

Address him at Malibu Beach, post 
paid. His secretary will answer your 
letter when he gets to it. 



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129 




Out on the desert near Yuma, Arizona, Alexander Korda has been making the battle sequences for Fox's 
"Women Everywhere." This is another yarn of the Foreign Legion. 

Won by a Nose 



(Continued from page 126) 



makes decisions on feeling. It is im- 
pulsive and versatile (a fine trait for 
an actress), it has a gift for mimicry. 
It is a nervous, sensitive nose, often of 
a delicate constitution, expresses ami- 
ability when the sarcastic and jealous 
part of the nature is not roused or de- 
veloped ; it expresses refinement, a spas- 
modic energy rather than a sustained 
steady energy such as is possessed 
by less imaginative and emotional 
people; it has diplomacy and tact. It 
is inquiring, obstinate (nature's way 
of overcoming the lack of aggression). 
It is frequently capricious, due to lack 
of firmness; in fact, it seems time to 
tabulate a few complimentary and un- 
complimentary traits that you can in- 
corporate into your own theme song. 



Complimentary 

adaptable 

humorous 

talkative 

optimistic 

intuitive 

sociable 



Uncomplimentary 

inquisitive 

changeable 

silly 

pert 

obstinate 

jealous 

capricious 

frivolous 

impulsive 

timid 

sarcastic 



THE retrousse also expresses a ca- 
pacity for memory (what a help that 
is when a girl has a lot of lines to learn 
every night), but ordinarily not a ca- 
pacity for profound thought. This is 
considered a feminine trait by male 
phrenologists but, joking aside, women 
are conceded to be superior linguists, 
and to excel in a great many things 
which require superior memories. The 
psychologists seem to feel that memory 
and reason are opposed, that is, that 
few people can excel in both, though a 
certain amount of memory is necessary 
to reason well, for if one had no mem- 
ory one would have nothing to draw 
deductions from.. 

A large love nature goes with the 
retrousse nose. 

130 



Perhaps the greatest gift of all pos- 
sessed by the owner of the retrousse 
nose is the gift of cultivation. Speaking 
plainly, that means the ability to adapt 
one's self, to improve and to take the 
best from one's surroundings and profit 
by it. The Irish are a nation of re- 
trousses. 

The owner of the retrousse can start 
at the bottom and rise to the world's 
highest places and grace them. The 
retrousse can slip on Cinderella's glass 
slipper and it fits; the Prince Charm- 
ing really need not look further than 
the nose. 

The pointed tip retrousse, like Gloria 
Swanson's, brings with it a large ca- 
pacity for attention and observation 
and also curiosity. Psychologists say 
that a baby is given curiosity that it 
may educate itself by satisfying the 
curiosity. This is true of adults; the 
actress may learn by attention and ob- 
servation and curiosity. Such powers 
are accompanied by a love of beauty of 
form and color; scenery, architecture, 
painting, all of them mean much to the 
sharp tipped nose. Swanson has quite 
a gift for sculpture, it is well known. 

POSSESSORS of the long-pointed re- 
trousse seem to be the most distin- 
guished dramatic actresses. This class 
includes Swanson, Gish, Pauline Fred- 
erick, Louise Dresser, Anna Q. Nilsson, 
Betty Compson, Barbara LaMarr, 
Mary Philbin, Fay Wray, Norma 
Shearer and Colleen Moore. Colleen, 
though a comedienne, has demonstrated 
her dramatic talents in past pictures, 
as in Edna Ferber's "So Big," made 
several years ago. The point, with its 
qualities, we have described; the long 
septum, or nose bone, means the posses- 
sion of inspiration and intuition, a 
quality that would lift mere mimicry to 
the level of an art. No great actress 
can be without this quality, no matter 
how great her gift of mimicry, memory 
or personal charm. 

Where the tip of the nose is level 
with the bottom of the nostril where it 



joins the face, you will find maturity, 
a sane outlook on the facts of life as 
they are, and in exaggerated cases this 
comes to mean pessimism. This is a 
change that time brings to the mod- 
erately upturned nose tip. Dr. Josef 
Ginsburg, plastic surgeon of Holly- 
wood, says that when he is restoring 
youthfulness to the face surgically, he 
often removes a bit of the cartilage 
from the tip of the nose, as a shorter 
nose tip is so much more youthful. 

COMING to the second type of re- 
trousse, the short nose with the 
blunt upturned tip, we find in this 
group Marie Prevost, Phyllis Haver, 
Mabel Normand and Anita Page. 

The third type, the between type, 
not very long and not very short, 
with broad upturned tip, the type 
best represented by Dolores Cos- 
tello and Irene Rich, has all the 
gifts of retrousse, but with slight 
modifications. This type is not so pos- 
sessed of inspiration as its longer- 
nosed sisters. Possessed of large mem- 
ories, their reasoning is not a control- 
ling feature, though they are canny. 
Phrenologists describe this type as 
more inclined to self-advancement than 
self -improvement. 

To sum things up, the retrousse is 
the typical actress's nose. Perhaps 
your favorite is in the following list of 
Hollywood stars who possess the re- 
trousse: Gloria Swanson, Jetta Goudal, 
Lillian Gish, Pauline Frederick, Renee 
Adoree, Laura LaPlante, Louise Dres- 
ser, Barbara LaMarr, Dolores Costello, 
Joan Crawford, Lupe Velez, Vivian 
Duncan, Ruth Chatterton, Dolores Del 
Rio, Gwen Lee, Betty Bronson, Fay 
Wray, Marguerite Churchill, Anita 
Page, Olive Borden, Betty Compson, 
Clara Bow, Colleen Moore, Nancy Car- 
roll, Lucille Webster Gleason, Eleanor 
Boardman, Madge Bellamy, Catherine 
Dale Owen, Anna Q. Nilsson, Marie 
Prevost, Norma Shearer, Pola Negri, 
Mae Murray, Lila Lee, Kay Francis, 
Zelma O'Neil and Camilla Horn. 

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AGAZINE- 



SEPTEMBER 
1930 




GLORIA 
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HOME TOWN STORIES 
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The New Movie Magazine 






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The New Movie Magazine 

ON SALE THE I5TH OF EACH MONTH IN WOOLWORTH STORES 

One of the Tower Group of Magazines 

Hugh Weir — Editorial Director 

Vol. II, No, 3 Features September, 1930 

Cover Painting of Gloria Swanson by Penrhyn Stanlaws 

The Home Town Stories of Amos 'n' Andy 

Amos F. J. McDermott 24 

Andy Robert R. Goldenstein 25 

Where Is Anna Q.? Adela Rogers St. Johns 26 

For three years Miss Kilsson has fought the brave I attic for health. 

By Popular Request Dick Hyland 29 

Buddy Rogers' mother is interviewed about her son's ideal girl. 

Herb Howe's Outline of Hollywood History Herb Howe 32 

Tracing the glamorous career of the world's most famous town. 

Me — Doug, Junior Dick Hyland 38 

Young Mr. Fairbanks wants to stand upon his own. 

Gay Grandmothers Dorothy Herzog 40 

Three who played a vital part in bringing success to their grandchildren. 

Adventures in Interviewing Jim Tully 43 

The famous writer tells about his encounter witli Jack Gilbert. 

How to Have Your Photograph Made Russell Ball 68 

One of Flollywood's best photographers tells you the secrets of the stars. 

The Drama of Lila Lee Evelyn Gray 78 

Act III in the absorbing life story of this popular actress. 

Visits to the Great Studios 86 

A personally conducted tour of the Warner Brothers' Studios. 

The Stars Go Into Business J. Eugene Chrisman 90 

Today's movie idols save their money and invest it with care. 

Fiction 
Mighty Lak' a Pose Stewart Robertson 44 

Another brilliantly amusing short story of Hollywood life. 

Departments 
The Hollywood Boulevardier Herb Howe 54 

Mr. Howe's flashing comments upon film people and events. 

Reviews of the New Films Frederick James Smith 83 

Concise and accurate comments upon the important new photoplays. 

First Aids to Beauty Ann Boyd 102 

Advice and rules for charm and attractiveness. 

AND: Music of the Sound Screen, 6; Where to Write the Movie Stars, 8; 
Gossip of the Studios, 19; How Hollywood Entertains, 74; Guide to the Best 
Films, 94; What the Stars Are Doing, 101. 

Frederick James Smith — Managing Editor 
Dick Hyland — Western Editorial Representative 

Published monthly by Tower Magazines, Incorporated. Office of publication at 1 84-1 Jamaica Ave., Jamaica, N. Y. Executive 
and editorial offices: 55 Fifth Avenue, New York. N. Y. Home office: 22 North Franklin Street, Wilkes-Barre, Pa. Hugh Weir, 
Editorial Director; Catherine McNelis, President; Theodore Alexander. Treasurer; Marie L. Featherstone, Secretary. Vol. 2, Number 3, 
September, 1930, printed in the U. S. A. Price in the United States $1.20 a "year, 10c a copy. Price in Canada $1.80 a year, 15c a copy. 
Copyright 1930 (trademark registered), by Tower Magazines, Incorporated, in the United States and Canada. Entered at the 
Post Office at Jamaica, N. Y., as second-class matter under the Act of March 3, 1879. Nothing that appears in THE NEW MOVIE 
MAGAZINE may be reprinted, either wholly or in part, without permission. The publisher accepts no responsibility for return of 
unsolicited manuscripts. 

Applicant for Membership in the Audit Bureau of Circulations 



The New Movie Magazine 




50(( quality 

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THERE is sweetness, 
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Its men were always 
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written brilliantly in the history of their 
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the winsome, lavender-and-old-lace 
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their lives form a lovely chapter. 

Surely if any young woman inherited 
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and her charm silhouetted against_ the 
rudeness that is 1930. 

And yet . . . and yet — her friends 
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Portrait of a L 

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an abnormal condition of the gums. Or 
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MUSIC of the Sound Screen 

The New Movie's Service Department, Reviewing the 
Newest Phonograph Records of Film Musical Hits 



SWING HIGH," "The 
King of Jazz," "The 
Big Pond" and 
"Way Out West" 
are the motion pictures 
getting the biggest play 
from the manufacturers of 
phonograph records this 
month. 

"With My Guitar and 
You," the song hit of 
Pathe's "Swing High," 
leads the month in number 
of renditions. One of the 

best versions was made for Victor by Don Azpiazu and 
his Havana Casino Orchestra. On the reverse side of 
this excellent rendition is the fox trot, "Be Careful with 
Those Eyes." 

Another excellent adaptation of "With My Guitar and 
You" was made by the tenor, Lewis James, for Victor. 
On the other side of this sure-to-be-popular record is 
the song hit of Metro-Goldwyn's "Way Out West," 
called "Singing a Song to the Stars." 

Columbia has an appealing version of "With My 
Guitar and You," played by Ben Selvin and his orches- 
tra. This record also carries the popular number, 
"Around the Corner." 



ONE of the best of the new 
records was made for Vic- 
tor by Nat Shilkret and the 
Victor Orchestra. This presents 
fine dance versions of presenta- 
tions of "Ragamuffin Romeo," 
from "The King of Jazz," and 
"Singing a Song to the Stars," 
from "Way Out West." 

If you like the boop-a-doop 
girl, Helen Kane, you will want 
hor newest record, presenting 
the two best numbers from her 
latest Paramount film, "Danger- 
ous Nan McGrew." These offer 
the song of that title and "I 
Love You." 

Two new Rudy Vallee records 
for Victor offer Rudy's radio hit 
song, "Kitty from Kansas City," 
and "If I Had a Girl Like You." 
The other new Vallee record 
presents the blue fox trot, "How 
Come You Do Me Like You Do?" 
and the popular waltz, "Old New 
England Moon." None of these 
is a talking screen number. 

THERE is a new Ethel Wal- 
ters record just issued by Co- 
lumbia. This presents "My 
Kind of Man," from Metro-Gold- 
wyn's "The Florodora Girl," and 
"You Brought a New Kind of 
Love to Me," from Paramount's 
"The Big Pond." 

Columbia has a new Paul 
Whiteman record which carries 
"Sittin' on a Rainbow," from 
Columbia's new film, "Call of 
the West," and the current hit, 



RECOMMENDED RECORDS 
'With My Guitar and You" 

Havana Casino Orchestra (Victor) 
'Mia Cara" 

Leo Reisman Orchestra (Victor) 
'Dangerous Nan McGrew" 

Helen Kane (Victor) 




"Old New England Moon." 
For Columbia, too, Eddie 
Walters sings "Girl Trou- 
ble," from Metro-Goldwyn's 
"Children of Pleasure," 
and "A Bench in the 
Park," from Universal's 
"King of Jazz." This is 
an attractive novelty song 
record. 

The High Hatters, con- 
ducted by Leonard Joy. 
have two lively new Victor 
records. One introduces 
"You for Me," from Tiffany's "Sunny Skies," and "If 
You're Not Kissing Me," from Metro-Goldwyn's "Good 
News." The other offers "My Future Just Passed." 
Buddy Rogers' song hit from Paramount's "Safety in 
Numbers." The reverse of this record presents the fox 
trot, "Get Happy," played by Nat Shilkret and his 
orchestra. 

"T'M in the Market for You," the song hit of Fox's 
A "High Society Blues," has been highly popular with 
record makers. Johnny Marvin, the comedian, offers a 
new and attractive version. On the opposite side of 
this record is the current senti- 
mental hit, "Dancing with Tears 
in My Eyes." 

You will like Loo Reisman's 
playing of "Mia Cara," from 
Paramount's "The Big Parade." 
The reverse of this Victor rec- 
ord carries "Rollin' Down the 
River." 

Columbia has a new record by 
Lee Morse and her Blue Grass 
Boys. This introduces "Seems 
to Me," from Paramount's 
"Queen High," and "Swingin' 
in a Hammock." 

Some of the best Columbia 
records present the Ipana Trou- 
badours. Their newest record 
offers "Sing," or "A Happv 
Little Thing," from Metro-Gold- 
wyn's "Forward March," along 
with the fox trot, "Promises." 

\TEW MOVIE has received so 
-^ many inquiries about movie 
stars who have made records 
that answer is made here : Mau- 
rice Chevalier, John Boles, Jean- 
ette MacDonald, Dennis King, 
Lawrence Tibbett and, of course, 
John McCormack are obtainable 
in Victor records. 

Buddy Rogers has made rec- 
ords for Columbia. 

Drop around to the nearest 
music store and look them over. 

Two of the numbers of In Gay 
Madrid," Ramon Novarro's 
latest starring vehicle, are 
highly popularwith the record 
makers. These are "Into My 
Heart" and "Santiago." 



The New Movie Magazine 



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WHERE to WRITE the MOVIE STARS 

When you want to write the stars or players, address your com- 
munications to the studios as indicated. If you are writing for a 
photograph, be sure to enclose twenty-five cents in stamps or silver. 
If you send silver, wrap the coify carefully. 

At Metro-Goldwyn-Mayer Studios, Culver City, 
Calif. 



Renee Adoree 
George K. Arthur 
Nils Asther 
Lionel Barrymore 
Lionel Belmore 
Wallace Beery 
Charles Bickford 
John Mack Brown 
Lon Chaney 
Joan Crawford' 
Karl Dane 
Marion Davies 
Duncan Sisters 
Marie Dressier 
Josephine Dunn 
Greta Garbo 
John Gilbert 
Gavin Gordon 
Raymond Hackett 
William Haines 
Leila Hyams 



Dorothy Janis 
Dorothy Jordan 
Kay Johnson 
Buster Keaton 
Charles King 
Cwen Lee 
Barbara Leonard 
Bessie Love 
Robert Montgomery 
Polly Moran 
Conrad Nagel -. 
Ramon Novarro 
Edward Nugent ."> 
Catherine Dale Owen 
Anita Page 
Lucille Powers 
Aileen Pringle 
Dorothy Sebastian 
Norma Shearer 
Lewis Stone 
Ernest Torrence 
Raquel Torres 



At Paramount-Famous-Lasky Studios, 
Hollywood, Calif. 

Richard Arlen 



Jean Arthur 
William Austin 
George Bancroft 
Clara Bow 
Mary Brian 
Clive Brook 
Virginia Bruce 
Jack Buchanan 
Nancy Carroll 
Lane Chandler 
Ruth Chatterton 
Maurice Chevalier 
June Collyer 
Chester Conklin 
Jackie Coogan 
Claudette Colbert 
Gapy Cooper 
Marlene Dietrich 
Kay Francis 
Harry Green 
Mitzi Green 
James Hall 



Neil Hamilton . 
0. P, Heggie 
Doris Hill 
Phillips Holmes 
Jack Luden 
Paul Lukas 
Jeanette MacDonald 
Fredric March 
Rosita Moreno 
David Newell 
Barry Norton 
Jack Oakie 
Warner Oland 
Guy Oliver 
Zelma O'Neal 
Eugene Pallette 
Joan Peers 
William Powell 
Charles Rogers 
Lillian Roth 
Regis Toomey 
Florence Vidor 
Fay Wray 



Universal Studios, Universal City, Calif. 

Beth Laemmle 
Arthur Lake 
Laura La Plante 



Lewis Ayres 
John Boles 
Ethlyn Claire 
Kathryn Crawford 
Reginald Denny 
Jack Dougherty 
Lorayne DuVal 
Hoot Gibson 
Dorothy Gulliver 
Otis Harlan 
Raymond Keane 
Merna Kennedy 
Barbara Kent 

Samuel Goldwyn, 7210 
Hollywood, Calif. 

Vilma Banky 
Walter Byron 

8 



George Lewis 
Jeanette Loff 
Ken Maynard 
Mary Nolan 
Mary Philbin 
Eddie Phillips 
Joseph Schildkraut 
Glenn Tryon 
Barbara Worth 



Santa Monica Blvd., 



At Fox St\idios, 1401 No. Western Avenue, 


Hollywood, Calif. 


Janet Gaynor 


F/ : ank Alberstoh 


Luana Alcaniz 


Ivan Linow 


Mary Astor 


Edmund Lowe 


Ben Bard 


Claire Luce 


Warner Baxter 


Sharon Lynn 


Marjorie Beebe 


Kenneth MacKenna 


Rex Bell, 


Farrell MacDonald 


Humphrey Bogart 


Mona Maris 


El BrendeP" --..." 


Victor McLaglen 


Dorothy Burgess- 


Lois Moran 


Sue Carol 


Charles Morton 


Sammy Cohen 


Paul Muni 


Marguerite Churchill 


George O'Brien 


Joyce Compton 


Maureen O'Sullivan 


Fin Dorsay 


Paul Page 


Louise Dresser 


David Rollins 


Charles Eaton 


Milton Sills 


Charles Farrell 


Arthur Stone 


Earle Foxe 


Nick Stuart 


John Garrick 


Marjorie White 


At Warner Brothers 


Studios, 5842 Sunset I 


Hollywood, Calif. 




Armida 


Winnie Lightner 


John Barrymore 


Lbtti Loder 


Betty Bronson 


Myrna Loy 


Joe Brown 


Ben Lyon 


William Collier, Jr. 


May McAvoy 


Dolores Costello 


Edna Murphy 


Claudia Dell 


Marion Nixon 


Louise Fazenda 


Lois Wilson 


Lila Lee 


Grant Withers 



Pathe Studios, Culver City, Calif. 

Robert Armstrong Ann Harding 

Constance Bennett Eddie Quillan 

William Boyd Fred Scott 

James Gleason Helen Twelvetrees. 

First National Studios, Burbank, Calif. 



Doris Kenyon 
Dorothy Mackaill 
Colleen Moore 
Jack Mulhall 
Vivienne Segal 
Thelma Todd 
Loretta Young 



Richard Barthelmess 
Bernice Claire 
Doris Dawson 
Billie Dove 

Douglas Fairbanks, Jr. 
Alexander Gray 
Corinne Griffith 
Lloyd Hughes 

United Artists Studios, 1041 No. Formosa 
Avenue, Hollywood, Calif. 
Don Alvarado Mary Pickford 

Fannie Brice Gloria Swanson 

Dolores del Rio Norma Talmadge 

Douglas Fairbanks Constance Talmadge 

Al Jolson Lupe Velez 

Columbia Studios, 1438 Gower Street, 
Hollywood, Calif. 



Evelyn Brent 
William Collier, Jr 
Ralph Graves 
Jack Holt 



Ronald Colman 
Lilv Damita 



RKO 

Calif. 

Buzz Barton 
Sally Blane 
Olive Borden 
Betty Compson 
Bebe Daniels 



Margaret Livingston 
Jacqueline Logan 
Shirley Mason 
Dorothy Revier 
Alice White 
Studios, 780 Gower Street, Hollywood, 



Frankie Darro 
Richard Dix 
Bob Steele 
Tom Tyler 



The New Movie Magazine 



At Last The Great Broadway Hit 
Comes To The Talking Scree 




with 
Bessie LOVE 
MaryLAWLOR 
Stanley SMITH 



t^* £k 



A greater* more complete, more 
istic production of this sensational 
musical comedy than was possible on 
the stage. "GOOD 3STE WS" brings you 
the soul of college life — its swift rhythm, 
its pulsing youth, its songs, its pep, its loves, its 
laughter — crowded into one never-to-be-forgot- 
ten picture. A cocktail of hilarious, riotous 
entertainment! 

What a cast! Bessie Love, of "BROADWAY 
MELODY" fame; Gus Shy, who starred in the 
Schwab &M and el Broad way presentation; 




beautiful Mary Lawlor, also 
one of the original cast; Cliff 
Edwards with his magic uku- 
lele; Stanley Smith, Lola Lane, 
iDorothy McNulty and a cam* 
pus-full of cute co-eds and capering collegiates. 

Marvelous music by De Syiva, Brown &: 
Henderson. "The Best Things in Life ate Free**, 
"The Varsity Drag** and others. Mirth! Melody! 
Speed! That's "GOOD NEWS"! 

Scenario by Frances Marion—Dialogue by Joe Farnham 
Directed by Edgar ]. MacGregor and Nick Grinde 



METRO-GO! ;%K¥N-MAYER 



LfST STARO 



"More Stars Than There Are in Heaven' 



The New Movie Magazine 





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LEILA HYAMS 


Photograph by Hurrcll 


Gallery 




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Famous 






Film Folk 







The 

New Movie 

Magazine 



11 




NANCY CARROLL 



12 




WALTER PIDGEON 



Photograph by Elmer Fryer 



13 




JEANETTE MAC DONALD 



14 




NEIL HAMILTON 



Photograph by Elmer Fryer 



15 




Photograph by Richee 



KAY FRANCIS 



16 




CUVE BROOK 



Photograph by Richee 



17 




JACKIE COOGAN 



18 



The New Movie Magazine 



VOL il 



SEPTEMBER, 1930 



No. 3 




Gossip of the Studios 



p 



KE-NUPTIAL affairs and wedding festivities 
have dominated Hollywood society for the past 
few months. Entertaining for Bebe Daniels and 
Ben Lyon just before their wedding kept every- 
one busy and immediately 
after that began a round 
of showers and parties for 
Sally Eilers and Hoot 
Gibson. 

The party that will 
be long remembered by 
everyone was the "bach- 
elor dinner" given for 
Bebe by Mae Sunday, one 
of her bridesmaids and 
her closest friends. On 
the same evening that 
Wallace Davis and a 
group gave the tradi- 
tional men's dinner for 
Ben Lyon, all the girls 
gathered at Mae Sunday's 
house and enjoyed a cat 
party for Bebe. 





Sally Eilers: She's Hollywood's 
newest bride, having married 
Hoot Gibson. She gave him a 
star sapphire as wedding gift. 



Charles Farrell: They're hav- 
ing trouble finding him a new 
co-star. Meanwhile, he is a 
Malibu Beach newcomer. 



The house was gorgeous with masses of pink gladiolas 
and dahlias, with a full-length spray of pink roses on 
the table for the bridal party, About fifty girls at- 
tended and gave Bebe a very gay evening, including a 
lot of amusing gifts and some literary efforts supposed 
to be helpful to a young bride. 

The hostess, Mae Sunday, wore black lace, and the 
guest of honor was in trailing all-over lace of beige 
color. Among the guests were Norma Talmadge, in 
black chiffon; Constance Talmadge, wearing yellow; 
Mrs. Peg Talmadge and Natalie Talmadge Keaton. 
Lila Lee was there, also in black. Betty Compson 
drove down from "The Spoilers" 
location. Mrs. George Fitz- 
mauriee wore the most beautiful 
print chiffon, pale yellow and 
gray in color. Louella Parsons 
was attired in black lace. Sally 
Eilers came in a soft pink print 
chiffon. Others ■ present were ; 
Carmel Myers, Olive Tell, Mrs. 
Hugh Murray and her daughter 
Anita, Eileen Percy, Mrs. 
AA r illiam K. Howard, Vivienne 
Segal, Carmen Pantages, and 
Colleen Moore. 



During the evening Miss 
Daniels presented each of her 
bridesmaids with a, large doll, 
dressed exactly as the brides- 
maids themselves were to be 
dressed at the wedding. 




TN honor of Sally Eilers, whose wedding to Hoot 
Gibson took place June 27, Carmen Pantages, who 
acted as maid of honor, gave a miscellaneous shower 
and supper party at the Assistance League Tea Room. 
The room was charmingly 
decorated, and about 
thirty girls attended. 
Among them Marian 
Nixon, Jeanette Loff, 
Bebe Daniels, Mae Sun- 
day, Mrs. Reginald 
Denny, Mrs. Morton 
Downey (Barbara Ben- 
nett), Eileen Percy, Marie 
Prevost and Mrs. Phyllis 
Daniels. 

Another party honor- 
ing Sally was given by 
Mr. and Mrs. Charles 
Mack in their beautiful 
new home in the Cali- 
forniafoothills. The guests 
included Mr. and Mrs. 
Buster Keaton, William 
S. Hart, Buster Collier, Marie Prevost, and of course 
Edward Pearson Gibson (better known as Hoot). By 
the way, nobody in Hollywood ever knew Hoot's real 
name until the wedding invitations were issued. 

Buster Collier gave Hoot his bachelor dinner, in the 
big banquet room of the Roosevelt Hotel. Buster was 
best man. William Collier, Sr., one of the most famous 
wits of Broadway, served as toastmaster. Fifty of 
Hoot's best friends gathered to celebrate his last eve- 
ning as a bachelor. The gathering presented Hoot with 
a big silver elephant's foot, which held cocktail glasses 
and shaker also in silver. 

Beside Buster and Hoot, 
those who gathered about the 
banquet board were William 
Boyd, "Skeets" Gallagher, Lew 
Cody, Jack Pickford, Norman 
Kerry, James Kirkwood, Dick 
Hyland, Buster Keaton, Ben 
Lyon, Dr. Harry Martin, Louis 
Wolheim, Monte Blue, Mervyn 
LeRoy, Roscoe Arbuckle, Wil- 
liam Haines, James Shields, 
Lloyd Pantages, Wesley Ruggles 
and others. 



Before Hoofs place was a 
large woolly sheep — the prize in- 
sult to a cowman. Mr. Collier 
read telegrams from a number of 
celebrities and everyone got a 
chance, to make a speech — or, at 
h <ist. to attempt one. 

19 



All the News of the Famous Motion Picture 




Renee Adoree: Slowly re- 
covering from her long illness, 
is back home again. 



CALLY EILERS gave 
Hoot Gibson a perfect 
star sapphire ring for a 
wedding present. Hoot 
wears it on the little 
finger of his right hand. 



CALLY certainly had 
some tough luck with 
her bridesmaids. Having 
selected Carmen Pantages 
as maid of honor, and 
Mae Sunday, Marie Pre- 
vost, Jeanette Loff and 
Marian Nixon as atten- 
dants, she thought she was 
all set. A week before the 
wedding, when the gowns 
were all completed, Jeanette Loff was taken ill and 
rushed to the hospital for an operation. 

Sally asked Mrs. Reginald Denny to take her place. 
Mrs. Denny said she would. Three days before the 
Avedding, Mrs. Denny also had appendicitis and was 
operated on within two hours. Much as everyone loves 
Sally no one wanted to be the third, so she decided to 
diave only three bridesmaids. 

Then Marie Prevost got a positive order to work that 
night at San Pedro. Marie begged but they were 
adamant. Finally Al Christie agreed to wait until 
eleven o'clock. So Buster Collier arranged a motoi'- 
cycle escort for Marie from Hoot's ranch at Saugus. 
Miss Prevost traveled some sixty miles to San Pedro 
and got there by eleven o'clock. 



V|R. AND MRS. BEN LYON have returned from 
their honeymoon and settled in Ben's apartment, 
until they can build a new home on a beautiful site Ben 
owns in the Hollywood foothills. Mrs. Lyon (who is 
Bebe Daniels) is doing her own housekeeping. She 
even went out the other day and bought all her own 
groceries. The only thing she forgot to get was a can 
opener. Maybe someone will give her one as a belated 
wedding present. 

The wedding gifts these two popular stars received 
would equal those presented to royalty on similar oc- 
casions. Marion Davies sent the bride a diamond neck- 
lace, from which hung a watch set in an enormous, 
carved Indian emerald. 
A dozen solid gold coffee 
spoons, which looked as 
though they might have 
been carved by Cellini, 
were sent by Mr. and 
Mrs. Harry Tierney. (Mr. 
Tierney wrote the music 
of "Rio Rita.") Mr. and 
Mrs. Townsend Netcher 
(Constance Talmadge) 
presented the newlyweds 
with a carved crystal bot- 
tle, centuries old, and of 
wonderful workmanship. 
A banquet cloth of price- 
less Italian lace from 
Venice was the gift of 
Norma Talmadge. The 
aero squadron to which 
Ben Lyon belongs sent a 




beautiful and unique gift — an aeroplane propeller, into 
which a wonderful clock had been set. Full sets of 
wonderful silver for every occasion, a carved jewel box, 
with interior compartments in silver, an exquisite din- 
ner service of Royal Crown Derby, were also included 
in the gifts. 



A LICE WHITE is making a picture for Columbia. 
It seems that First National didn't renew her 
contract. The talkies haven't been kind to Alice. It 
takes too long to shoot talkie scenes with her. And 
First National was having trouble finding vehicles 
which will allow Alice to wear teddies. 



npHERE are 150,000 things you cannot do in Holly- 
wood. Among them : Aliens cannot use for any 
purpose city park golf or tennis courts without permits. 
Which makes it tough on people like Ramon Novarro, 
Greta Garbo, Maurice Chevalier, and a flock of others. 
But can you see a cop walking up to Garbo and saying 
"You are a bad girl ; you can't play here," if she should 
happen to tread on a city tennis court ? 



In the movie, "Jenny Lind," Grace Moore sings in 
English, French, Spanish, Italian and German. 



pLAUDETTE COLBERT isn't going to be gone six 
months on her ocean trip, after all. The studio has 
insisted that she return to play with George Bancroft. 
Miss Colbert ought to be very popular as soon as the 
fans get to know her. She's beautiful and a real 
trouper. 

/""■LARA BOWS next picture will have its locale in a 
college town and the heroes will be football players. 
The script, written by an Eastern college man, named 
the two leading players as Red Grange and Dick 
Hyland. They'll change those, however. At that, Red 
might be very good in the part — though as named he 
was the heavy. And New Movie might loan Dick 
Hyland for the film. 



Since she started fifteen years ago as a thirteen-year- 
old girl, Bebe Daniels has 
made 288 pictures. When 
she was with Harold 
Lloyd they used to grind 
out one short comedy a 
week. 



'"PHE Fox forces are 
spending twenty -five 
million dollars enlarging 
and improving their 
studio at Fox Hills, near 
Culver City, and are going 
to shoot all their pictures 
there as soon as they can 
move in. Their Holly- 
wood studio will be given 
over entirely to labora- 
tory work. The Fox 1930 
program is a notable one. 



20 



Stars and Their Hollywood Activities 



The best matinee idol story ever told is now going the 
rounds in Hollywood. 

A pretty young -matron, name unknown, went into 
Jim's Beauty Parlor. She was extremely fussy about 
the way her hair teas to be done. Just this , way and 
that iriay. She had a facial and a manicure. The girl 
%vho attended her was much impressed. She said, "Well, 
you surely must have a big date tonight, the way you're 
(jetting yourself all fixed up." The pretty matron smiled 
happily and said, "Yes, I'm going to see Chevalier's new 
picture." 

t^DDIE LOWE has been up at Pebble Beach on loca- 
tion for a month. His wife, Lilyan Tashman, was 
working so hard that she had to stay home. But she 
drove up to make the return journey with him. 



T T'S a wonderful sight to watch George O'Brien and 
his father on the beach at Malibu. Dan O'Brien, 
for many years chief of police of San Francisco, is just 
as husky as his son and can still keep up with him at 
swimming, hiking, tennis and even take a part in the 
basketball games on George's tennis court. They do a 
little boxing together, too, and if it ever got serious 
George would have his hands full. 



AS soon as the final version of "Madame Du Barry" is 
"^ ready, Norma Talmadge is leaving for Europe. She 
will spend the summer at Antibes and other places in 
France, visiting her friend, Mrs. Ben Troop (Rubye de 
Reiner). Mrs. Leslie Carter, who made "Du Barry" 
famous on the stage some years ago, has been on the set 
with Norma during the entire filming of this picture. 
She has coached Norma in speaking the lines just as 
Laura Hope Crewes coaches Gloria Swanson. 




expect a visit shortly, as 
do Mr. and Mrs. "Sheets" 
Gallagher. And report 
from New York says that 
the former Florence Vi- 
dor, now Mrs. Jascha Hei- 
fetz, will soon become a 
mother. 



First National is spend- 
ing three and one-half 
million dollars enlarging 
its studios. 



Norma Talmadge: Plans to 
V/TRS. PATRICK spend her vacation at Antibes 
iV1 CAMPBELL, one after completing "Du Barry." 

of the most famous stage 

actresses, is now in Hollywood and is fast becoming the 
idol of the younger set. They gather around and listen 
by the hour to her tales of the great days in London 
and her memories of Oscar Wilde, Sarah Bernhardt, 
George Bernard Shaw, and all the great figures of the 
reign of Edward VII. Saw Lilyan Tashman, Colleen 
Moore, and a group of girls sitting at her feet one Sun- 
day — and it takes something to do that in Hollywood. 

JT VELYN BRENT has gone to Alaska to play in "The 
Silver Horde," which George Archainbaud is di- 
recting. Louis Wolheim has gone along. That's a 
break — to be sent to Alaska for a month in the summer. 



The first part Loretta Young ever played ivas with 
Colleen Moore in "Naughty But Nice." 



Vic McLaglen proclaims he is getting kincla tired of 
being tied up with that "Sez you, sez me" business. 
Every time he opens his mouth some original wit cracks 
at him "sez you," and then gets peeved if Vic does not 
come back with "Yeah, sez me." 



QLORIA SWANSON was seen playing on the beach 
^^ at Malibu with her little daughter and her stal- 
wart little son. All of them 
tanned copper brown. 

Miss Swanson declares em- 
phatically that there isn't 
the slightest chance of a di- 
vorce between herself and 
the Marquis de la Falaise. 
Tbey will soon be together 
in New York. Gloria is look- 
ing unusually beautiful these 
days. 



TZ-ING VIDOR and Eleanor 
Boardmau have a new 
baby daughter. The young- 
ster hasn't been named yet. 
This is the second child in 
King Vidor's family. Tbe 
stork seems to be busy around 
Hollywood these days. Mr. 
and Mrs. Robert Montgomery 




F)0 you remember "Our Girls" club, which ten years 
ago was formed in Hollywood? Many of the 
younger film stars belonged to it, and Mary Pickford 
was honorary president. The membership included Mil- 
dred Davis, Colleen Moore, Lois Wilson, Carmel Myers, 
Helen Ferguson, May McAvoy, Billie Love, Lillian 
Rich, and Julanne Johnstone and Carmelita Geraghty. 
They met for a reunion the other night at Carmel 
Myers' new home. Ten years ago none of them was 

married and they were just 
beginning to be known on 
the screen. Much has hap- 
pened since those days and 
they had great fun remi- 
niscing. Mary Pickford pre- 
sided. 



F)OLORES DEL RIO is 
vacationing before start- 
ing "The Dove." She's been 
down the California coast at 
Ensenada, getting a lot of 
sunshine. Miss Del Rio and 
Cedric Gibbons, head of the 
art department at M.-G.-M. 
and one of Hollywood's most 
popular bachelors, are being 
seen about together. Miss 
Del Rio has been interviewed 
for the next New Movie. 

21 



The Hollywood Who's Who— and what the 




Jeanette Loff: Sudden seri- 
ous illness prevented her from 
being one of Sally Eilers' 
bridesmaids. 



EJAROLD LLOYD says 
that the first people 
outside the studio who 
will see his latest picture, 
"Feet First," will be 450 
lepers on the island of 
Molokai in the Hawaiian 
Islands. He was deeply 
touched by what he 
learned about the poor, 
isolated unfortunates who 
are merely waiting to die 
— and must not leave their 
quarantined isle. 

Incidentally 30,000 peo- 
ple gave Harold the big- 
gest reception ever tend- 
ered anyone in Honolulu. 
This mob of fans met him 



as he got off the boat, and there was no escape. 



HP HE family of Ann Harding has owned a plantation 
in Virginia (near Norton) for five generations. No 
tobacco was raised on that plantation because the Ver- 
millions (Ann's people) always believed tobacco "not 
nice" for women and therefore refrained from planting 
any, even though they are in the heart of the tobacco 
country. 

Ann's mother, now in charge of the property, has 
finally decided that smoking for women is all right and 
is going to plant good old "terbaccy." Which, inci- 
dentally, will about treble the income of the plantation. 



rymore. The role of the mother, a very important one. 
will go either to Mrs. Fiske or Mrs. Patrick Campbell. 



Walter Pidgeon used to be a stock broker in Boston 
but went broke. He took to singing on the stage to re- 
coup. ' Now he is in Hollywood and lias forgotten all 
about stocks. 



■yiVIENNE SEGAL gave a lovely baby shower the 
v other night for Mrs. "Skeets" Gallagher. The table 
had stork decorations and the ice cream was made in 
tiny cradles with a real little doll in the middle.' The 
girls who came and showered Pauline Gallagher" with 
the daintiest gifts for the coming heir or heiress were 
Mrs. Bert Wheeler, Kathryn Crawford, Bebe Daniels, 
Kathleen Martin, Alan Dwan, Carmen. Pantages, Sally 
Eilers, Marie Prevost, Mae Sunday, Mrs. Robert Wool- 
sey, Mrs. Phyllis Daniels. Mrs. Ben Lyon, Sr., and Mrs. 
George Butler Griffen, Bebe's grandmother, who, as 
usual, was the life of the party. Mrs. Rosenthal and 
Mrs. Meyers, Ben Lyon's sisters, who came on for the 
wedding, were also present. 



DHYLLIS HAVER, who is now married to a young 
New Yorker, Billy Seaman, and has retired from 
the screen, made a recent visit to Hollywood and was 
entertained by her many friends. She says she is grow- 
ing to love New York but still loves Hollywood best, 
and there isn't any chance that she will return to the 
screen. 



T> AMON NOVARRO has just returned from a sojourn 
-^ in East Lansing. Michigan, where he went to take 
some lessons from Louis Graveur, famous singing 
teacher. 



$70,069,945 was the assessed valuation of real and 
personal property in Hollywood, in 1920. Today it is 
$365,088,990. a gain of over EIGHTY THOUSAND 
dollars a DAY. 



Vivienne Segal claims the prize telegram of the 
month. It came from New York during one of the re- 
cent stock declines. 

"Your broker wants ien thousand dollars more mar- 
gin. What do you suggest f • Love. Mother." it read. 

"Suggest anything they will let you use for ten thou- 
sand dollars. Love. Vivienne." Vivienne wired back. 



T OriS BROMFIELD, the novelist, came to Holly- 
wood to write an original story for Ronald Colman. 
After two months in the film capital he has departed 
for Paris to write the story. He says it's too difficult 
to work in the confusion and excitement of Hollywood. 
When he's finished the story he's going to bring it back 
to Sam Goldwvn. 



DENEE ADO-REE 
has returned to 
her Hollywood home, 
after several months 
in a sanitarium. She is 
much better. 



TNA CLAIRE is to 
play the leading 
role in Paramount'* 
production of "The 
Royal Family" on the 
screen. It's a great 
part and will give Ina 
a real chance — her first 
— on the screen. The 
part is s\ipposed to 
have been suggested by 
the life of Ethel Bav- 




DESSIE LOVE is 
fully recovered 
from a recent illness. 
Back at the studio, 
Bessie, who is now Mrs. 
William Hawks, appar- 
ently is finding married 
life entirely to her 
taste. She and her hus- 
band appear to be very 
happy and devoted. 



WARNER BROTH- 
ERS were shoot- 
ing a picture which re- 
quired the hero to wear 
several important Brit-* 
ish war medals. A 
meek and lowly prop- 



22 



film famous are doing in the Movie Capital 



erty man on the set offered to lend the hero his, and the 
astonished director saw produced: the French Croix 
de Guerre, the British Military Medal for bravery, the 
1914 Mons Medal, the British War Medal with the 
"mentioned in dispatches" leaf; and the Allies Medal. 

Jock More, the owner of these trinkets, was a sergeant 
in the Highland Light Infantry (a kilt-wearing regi- 
ment) and saw four years of the rough stuff in France. 

And the director of the picture is Michael Curtiz, 
who was an officer in the Austrian Army. 



There arc 22,700 movie theaters with a total seating 
capacity of about 11,000,000 in the United States. 



^TOM MIX'S daughter, Ruth, who has been living 

with her mother, Tom's ex-wife, ran away and 

married an actor, Douglas Gilmore, in Yuma, Arizona. 



Mme. Ernestine Schumann-Heinle ivas paid $6,000 
for one week's singing at the Boxy Theatre in New York. 
During the week she celebrated her seventy-first birth- 
day. 



CANFORD RICH, first mayor of Hollywood (1903) 
died June 10 in Hollywood. He was eighty-nine 
years old. He first came to Los Angeles in 1859 but 
returned to the Middle West and then came to Los An- 
geles for keeps in 1900. Mr. Rich is described in Herb 
Howe's Outline of Hollywood History, published else- 
where in this issue. 



Alf ILTON LACKAYE, 
famous New York 
stage actor, is in Holly- 
wood on a visit and says 
he has no intention of go- 
ing into the movies. 
Which makes him a rare 
bird indeed. 

Slow motion 'pictures 
are being used by the 
French army to teach re- 
cruits exactly how to drill 
and perform their man- 
ual of arms. 




M 



Evelyn Brent: In Alaska for 
a month playing the heroine 
of "The Silver Horde." 



[ANY letters pile in to 
prove that the fans 
haven't forgotten William Farnum in "The Spoilers." 
Right now, Bill is playing with Norma Talmadge in 
"Du Barry." 

"The Spoilers' " location up near Oxnard, about 
seventy miles north of Hollywood, is the scene of much 
activity. And they do say that all hasn't been so 
peaceful. Lot of stars up there together — Gary Coop- 
er, William Boyd, James Kirkwood, Kay Johnson and 
Betty Compson. They've built a whole Alaskan vil- 
lage there. 



Fifi Dorsay's real name is Yvonne Lussier. She was 
born in Montreal. 



CINCE peace terms have not been adjusted with Janet 
Gaynor, the Fox studios are having quite a time in 
finding someone who can take Janet's place in the Far- 
rell-Gaynor team. They have considered Rose Hobart, 
of the New York stage, as well as Maureen 0' Sullivan, 
Joyce Compton and Mona Maris. But wise old Holly- 
wood wags its head and winks. There is only one Gay- 
nor and she fits with Charlie Farrell as no one else will. 



QHARLIE FARRELL is the latest addition 
Malibu Beach colony. He's bought a lot 
next door to George O'Brien. Expects to 
immediately. 

The romance of 
Charlie and Vir- 
gin i a Valli is 
blooming again. 
To fact, Charlie 
sort of intimated 
that there might 
he real news be- 
fore many months 
have passed. They 
are always togeth- 
er. Anothercouple 
whose engage- 
ment is likely to 
be announced 
shortly is Carey 
Wilson, one of the 
leading scenario 
writers, and Car- 
melita Gerasditv. 



to the 

almost 

build 




X/TARILYN MILLER works three hours a day at 
her dancing with Theodore Kosloff, the great 
Russian dancer. After her next picture. Miss Miller 
will return to New York for a stage production in the 
Fall. Did you know that Marilyn is the highest 
priced musical comedy star ever to play on Broadway ? 



PHERE are two big parts opposite women stars — 
really co-starring parts — for which Douglas Fair- 
banks is in great demand. Both the girls and the pro- 
ducers think no one could do these parts as well as 
Doug. One is with Bebe Daniels in Irving Berlin's 
"Reaching for the Moon." The other is the role oppo- 
site Dolores Del 
Rio in "The 
Dove." Since 
these are both 
great stories and 
big productions, 
and since t h e 
parts are so good, 
Mr. Fairbanks 
may consider 
them. If he re- 
fuses, it is prob- 
able that Walter 
Huston will be 
with Miss Del Rio 
and Jack Whiting 
will get the cov- 
eted part with 
Miss Daniels. Mi-. 
{Continued, on 
page 96) 

23 



Home Town Stories 




Freeman Fisher 
Gosden, of Rich- 
mond, Va., known 
to fame as Amos. 



TELEPHONE service in Richmond is at a stand- 
still for fifteen minutes every day* except Sunday. 
For a time attendance at supper meetings of the 
Rotary, Civitan, Kiwanis, Monarch, First and 
other civic clubs dwindled to such an extent that busi- 
ness could not be transacted. Church socials had to be 
set at a later hour. Golf courses, 

tennis clubs, and the like even 

now are almost deserted long be- j 
fore darkness would put an end 
to play. 

The telephone service gets no 
better, despite the best efforts of 
the company officials. The few 
persons who do try to make a 
call almost invariably are told: 
"Party doesn't answer." The 
civic clubs, however, have reme- 
died their troubles. Radio re- 
ceiving sets have been installed 
in all club rooms. This was 
necessary because, during the 
months of Daylight Saving Time, 
Amos 'n' Andy broadcast earlier 
in New York. Every citizen of 
Richmond, old and young, sick 
and well, men and women, rich 
and poor, white and black, in- 
sist on being within hearing of a 
loud-speaker. And they will not 
be interrupted. 

Amos 'n' Andy are on the 
air. Amos is a Richmond boy, 
and many of his listeners are 
persons who "knew him when — -" 
He is best remembered as 
"Curley," a light-haired young- 
Andy is holding forth on a 

new efficiency idea while Amos 

listens with some doubt. Note 

Andy's business charts on the 

wall. The taxi stands outside. 

The 'phone may ring at any 

moment — and the voice may 

be that of Madam Queen, Ruby 

Taylor or the Kingfish. Or it 

may be Pat Pending. If so, 

Andy had better check and 
double check. 



THIS Y'ERE'S AMOS 

By 

F. J. McDermott 

of The Richmond Times Dispatch 

of Richmond, Va. 



ster given more to pleasure than business. But much 
has been said and written about Freeman Fisher Gos- 
den since he and Charles J. Correll, (Andy), attained 
national fame. First, let's talk about "Snowball," and 
then about his influence on Gosden's career. 

"Snowball" is the prototype of "Amos." He is the 
inspiration of many episodes of "Amos 'n' Andy" and 
is none other than "Sylvester," the lovable lad in some 
of their sketches. "Snowball" is Garrett Brown in pvery- 
day life. His life is an every-day affair and his hours 
are long. But the long hours are of his choosing. He 
is without a radio of his own and, come what may, his 
employers are unable to get him to go home until the 
daily broadcast of Amos 'n' Andy is finished. 

Garrett is living again his early life in the Gosden 
home. "Curley" Gosden was the youngest of four 
children. Up to ten years of age he was just the average 
boy; perhaps a bit too retiring and maybe just a wee 
bit "goody-good." A sister {Continued on page 106) 




24 



of AMOS 'n' ANDY 



THIS AM ANDREW BROWN, PRESIDENT OF THE 
FRESH AIR TAXICAB COMPANY OF AMERICA, INCORPOLATED 

By 

Robert R. Goldenstein 

of The Peoria, III., Journal Transcript 

MOST great men can point with pride to the fact 
that they began their careers as newspaper car- 
riers, but Charles J. Correll, better known per- 
haps as Andy of Amos 'n' Andy to hundreds of 
thousands of radio listeners, can go them even one better. 
Yes, he was a carrier boy, but in addition he was an 
usher in a theater house and amateur actor at the same 
time. He hiked over his route in the morning, took part 
in plays along with his school duties and worked as an 
usher in a theater at night. While no accurate account- 
ing of his spare time can be had, it is definitely known 
that he did not study the intricacies of the taxicab busi- 
ness. The horse drawn vehicle was the mode of travel 
during his youth. 

On February 3, 1891, Charles got the jump on two 
brothers and a sister and was the first child born to 
Mr. and Mrs. Joseph B. Correll. A punster, music 
lover and born genius at wisecracking, his ability at 
drama blossomed forth at an early age. A short while 






— rr-a 




Charles J. Corre! 
of Peoria, III., 
known to tho 
world as Andy. 




if \ r i V-\V s ^ 



after he graduated from rompers and babyhood to knee 
trousers and boyhood, he was given his first chance in 
a play at the Greely School, which he attended. 

The play had to do with fairies and ogres and wasn't 
exactly to Correll's liking but he gave them what he 
had and "wowed" them. He was made and from then 
on was given minors and leads in school productions. 

While Charles labored over his route with a paper 
sack, picking up spending and saving money, a proud 
family was racking its brain over the choice of a career. 
The senior Correll, a brick mason contractor, held that 
his son should be allowed to choose his own vocation but 
agreed with Mrs. Correll that he should study the piano. 

Charles loved music. The family selected Joseph 
Hornbacher, piano instructor of classical music, to bring 
talent to the surface, but all did not fare so well. 

As soon as Charles learned properly to glide his 
fingers over the keyboard, his creative talent asserted 
itself. The music that bounded from the soundboard 
was the type that did not have the approval of the 
instructor. 

Lively melodies are usually associated in the same 
category with clever jokes and pranks and Charles could 
give them either. His boyhood friends recall countless 
incidents in their early lives when they were innocent 
victims of a Correll prank. From his grade school 
days, until he became associated with the Joe Bren 
Production Company of Chicago, his friends remember 
him for his unusually keen sense of humor. Dubbed 
then as "the life of any party," it was only natural that 
he would be much sought after at parties. 

TLJAVING mastered the piano he followed through 
-*- -*■ with a knowledge of a buck and wing and tap 
dance. Charlie was yet in the lower grades of the 
Greely School and at that age when a boy maintains an 
infinite supply of reserve pep. 

The senior Correll describes Charles as he knew him 
in grade school. 

"Full of pep from morning to night. Trying his hand 
at everything and always on the go. Charlie comes 
home and when the front door opens we know that all 
the peace and quiet around the house has departed. 
He would toss his cap on a stand and his books on a 
chair and go after the piano." 

While attending Peoria High School, Mr. Correll 
again demonstrated his ability as an actor in amateur 

plays given by the school. 

D wi u He served as leader of the 

** ' High School orchestra 

J. J. Gould (Continued on page 110) 



25 




Photograph by Russell Ball 



On the page opposite Adela Rogers St. Johns tells the dramatic story of Anna Q. Nilsson's fight for health. 
On May 1st, 1928, Miss Nilsson was thrown from a horse in the San Bernardino Mountains. It was four days be- 
fore it was possible to get the motion picture star to a hospital. For eight months she was in a hospital in Los 
Angeles, unable to walk without crutches. Four months ago, at Orthopedic Hospital, Los Angeles, doctors 
grafted a new bone to Miss Nilsson's hip. Recently the cast was removed and an X-Ray examination 
indicated that Miss Nilsson is making a complete recovery. In another month she may be able to return to 
pictures. Meanwhile, through the months of suffering and struggle, Miss Nilsson's fan mail at the hospital has 

been remarkable. Have you written? 



26 



I! 



Where is Anna Q? 

For Three Years Miss Nilsson has Fought the Brave 
Battle for Health and the Goal Is Now Close By 



By ADELA ROGERS ST. JOHNS 



NOT long ago Grantland Rice, who would rather 
write poetry than sports, printed some splendid 
lines which my husband cut out and pasted in 
the scrap-book, where we keep treasures of 
thought or gems of fine writing which otherwise would 
be lost forever when the current magazines and news- 
papers go to start the fire. 

Two of the verses run like this : 

I have learned something worth far more 

Than victory brings to men, 
Battered and beaten, bruised and sore, 

I can still come back again. 
Crowded back in the hard, fast race, 

I've found that I have the heart 
To look rank failure in the face 

And. train for another start. 

Winners who wear the victor's wreath, 

Looking for softer ways, 
Watch for my blade as it leaves its sheath, 

Sharpened on harder days; 
Trained upon pain and punishment, 

I've groped my way through the night, 
But the flag still flies from my battle tent, 

And I've only begun to fight. 

If Grant Rice had known Anna Q. Nilsson, he would 
have dedicated those ringing words to her instead 
of to vanquished athletes. I never read them now with- 
out thinking of Anna Q. 

Life brings us contact 
with many people. As we 
grow a little in tolerance, 
wisdom and understand- 
ing, we cease to judge or 
to label anyone with defi- 
nite opinion. But every 
now and then throughout 
the years a man or woman 
crosses our path and wins 
a place before which we 
lay the tribute of untar- 
nished admiration. When 
we think of them our 
hearts quicken with new 
faith, our spirit is lifted 
by the beauty of their ex- 
ample. We feel shame for 



Anna Q. Nilsson as she is 
today, waiting in the sun on 
the lawn of the Orthopedic 
Hospital in Los Angeles for 
the final cure that may per- 
mit her to walk unaided for 
the first time in three years. 
She hopes her courageous 
fight will bring her back to 
film stardom. 

Photograph by International Newsreel 



our own petty protests against the inevitable buffeting 
of fate. 

I THINK, above everything, I admire the courage 
which keeps serene and sweet in the face of bitter dis- 
appointment, thwarted ambition, broken dreams. Per- 
haps in Hollywood, where the "hard, fast race" of life 
is in many ways harder and faster, that is the quality 
everyone admires most. And so Anna Q. has become 
an inspiration, a symbol. Hollywood's own daughter, 
Anna Q. has looked rank failure in the face. And always 
she has forced you to see that in spite of pain and pun- 
ishment, she is training for another start. 

The long strain of hope deferred, the rack of sleepless 
nights when no dreams soften the harsh outlines of the 
future, the anguish of being held in chains while others 
less worthy press on to victory, have not once caused 
Anna Q. to dip her flag in defeat. 

Always she smiles. There are many smiles. The 
smile of the martyr. The smile of the envious. The 
smile which begs for pity. Anna Q.'s smile is as real as 
sunshine, and as warm and as natural. Because some- 
where, as she has groped her way through the night of 
pain and fear and loss, she has learned to find happiness 
within her own stout heart. 

That is why the small, white hospital room where she 
has lain for five long months, has become a place of 
refuge to many a hard-driven harassed star of the 
cinema. That is why in that {Continued on page 112) 




27 




Dick Barthelmess in a different sort of role, a type of part he hasn't played since Griffith's Scarlet Days. Dick 
portrays a young Spanish rancher who is wronged and becomes El Puma, a dashing and fearless bandit. El Puma 
takes Mary Astor— and rides away to Mexico. The time is 1850, which, if you read Herb Howe's History of Holly- 
wood in this issue, you will know was long before the coming of the movies. 



23 



By 
POPULAR 

REQUEST 

Buddy Rogers' Mother is 

Interviewed About her 

Son's Ideal Girl 

By DICK HYLAND 



JVTEW MOVIE received hundreds of letters comment- 
■*• * ing upon Dick Hyland's story on Buddy Rogers- — ■ 
and the girl he seeks. One of the most interesting 
came from Ruth M. Carter, of 27 Lovell Street, Middle- 
boro, Mass. She wrote: 

"Every man is seeking the girl of his dreams. The 
basis of his dreams is his mother. Naturally he com- 
pares every girl he meets with his mother. I am certain 
that you will find Buddy's mother measures up to all 
those seemingly absurd requirements." 

Miss Carter's letter was forwarded to Mr. Hyland 
and this month's interview with Buddy's mother is the 
result. Our thanks — and a check — go to Miss Carter. 
If you have interesting ideas about the contents of 
New Movie, write to the managing editor. You may 
be as helpful — and as lucky — as Miss Carter. 

CHARLES (Buddy) Rogers, and the girl he seeks, 
is once again the subject up for discussion. It 
has to be. Because it seems that I stumbled into 
a hornets' nest some months ago in writing 
about that one bit of feminine charm Buddy is on the 
lookout for. 

"Buddy is a chump for thinking such rot and you 
are a sap for writing it." That line was in one letter 
I received, from a girl. 

"Tell Rogers to take a jump at the moon. Maybe 
he will find the girl he wants there." That was in 
another letter, from a man. 

"Enclosed is a picture of Mary. I know she is 
the girl Buddy is seeking." It was a drawing 
of an angel. 

"There is one actor with sense," wrote 
a man from Philadelphia. "But I doubt 
if he will ever find the girl he wants. 
I have known only one of that kind. She 
is my wife and a bit too old for me to 
bother about competition from a young- 
ster the age of our son." 

These and many more reactions were 
shown in the letters the story provoked. 
But the thing that dumbfounded me was 
that eight out of every ten believed it 
impossible for Buddy to find the girl he 
wanted. That the girl did not live who had 
the characteristics he enumerated, and which 
I will mention again in a moment. And 
they seemed to think that he was asking 
for more than any man had a right to expect 





A woman's job, first of all, says Buddy's mother, Mrs. 
Rogers, "must be to make the man who is her life part- 
ner happy. She must aid him in his work by giving him a 
happy home life. And that is a real woman's happiness." 

THEN came the letter which accompanies this story. 
Ruth M. Carter, from Charlie Farrell's home state 
of Massachusetts, gave an answer which sounds so 
simple I wonder that I did not mention it in the 
previous story. 

She says Buddy's mother is his model. That it is the 
counterpart of her he seeks. 

He did not mention his mother at the time we talked. 
But he did say that the girl he wants must have per- 
sonality, must be reasonably good looking, must possess 
a sense of humor, be a good listener and sym- 
pathizer. He said that she must not wear too 
much make-up and must never stage jealous 
scenes. 

With Ruth Carter's letter to guide me I 
decided to do a little private snooping 
and see just how correct she was in her 
surmise. 

I had met Buddy's mother only once. It 
was two years ago on her first trip to 
Hollywood. Buddy brought her to a Sun- 
day afternoon tea given by Bebe Daniels. 
I presented her to my mother and will 
never forget her quick, "Oh, I am so glad 
you are here. I feel — well, there are so 
many younger and famous people here. And 
1 don't know any of them." It was in char- 
acter that she did not think of her son, 
Buddy, as being one of the most famous. To 
her he was just Buddy, then and forever, which 
is perhaps what he prefers to be. 

29 



The Story of a Real 25-Year Kansas Romance 



C HE sat off on one side 
^ of the room all during 
the tea. Her eyes spark- 
ling, she smiled and talked 
with my mother, who told 
me afterwards, "Mrs. 
Rogers is such a sweet 
person and so understand- 
ing. She made the day 
a very pleasant one for 
me." You see, it was my 
mother's first time at a 
Hollywood party, too. 
And one must be con- 
siderable of an egotist to 
walk into a group consist- 
ing of Bebe Daniels, Con- 
stance Talmadge, Ben 
Lyon, Lila Lee, Billie 
Dove, Howard Hughes, 
Joe Schenck, Betty Comp- 
son, Buster Keaton, Louis 
Wolheim, Norma Tal- 
madge and two dozen oth- 
ers just as famous — and 
not feel a bit self-con- 
scious. 

That single meeting 
gave me an excuse to visit 
Mrs. Rogers. She showed 
her poise at once by ap- 
pearing not at all sur- 
prised. We sat in her liv- 
ing room and talked of 
little things until I could 
lead the conversation 
around to Olathe, where 
Buddy was raised. From 
that it was an easy step to 
her marriage with Bert 
Rogers, Buddy's father. 

She smiled and the light 
of reminiscence came into her eyes when she spoke. 

"Bert was getting seventy dollars a month teaching 
school," she said, "but it was enough and we were 
happy, even if it was a bit hard at times." 

"But you didn't mind?" I said. 

"Oh, no," she said simply. "You see, in my day, 
it was considered an honor and a privilege to be a 
good wife. That was a woman's business and a very 
fine one it was." 

"Just what do you consider a woman's real job?" I 
said. 

Her answer was simple as it was all-embracing. 

"Why, a woman's job, first of all, must be to make 
the man who is her life partner happy and to aid 
him in his work by giving him a happy home life." 

"But if that is so," I said, "where does her fun 
come in? What does she get out of life? Because 
making a man happy is almost a twenty-four-hour-a- 
day job." 

"TV/TY boy," she smiled at me, and I thought that had 
1V - 1 I not been blessed with the one I have, I would 
sooner have this gray-haired lady for a mother than 
any woman I had ever met, "my boy, that is a real 
woman's happiness. All these modern innovations 
can't change what the Lord intended when he created 
man and woman to be one. Nothing, I am sure, can 
give any girl the satisfaction and the pleasure that 
comes from making the man you love happy. 

"We didn't talk so much about those things when I 
was a girl. We took them for granted. It is not as 
difficult as it sounds, when surrounded by all these — 
problems and — what do you call it, psychoanalysis? I'm 
sure my husband would wrinkle his nose at me if he 
heard me say this, but children and men can be handled 

30 




Buddy Rogers' happy home impressed certain essentials 

upon his mind. "Buddy," says his mother, "asks no more from 

the girl he will eventually marry than his father has received 

for a quarter of a century from the girl he married." 



just alike, and woman 
was born with the knack 
of doing both, wasn't she? 
Neither children nor men 
like to be punished and it 
isn't necessary. If you 
show them that the 
things they do hurt you, 
they will stop. But it's 
human nature to fight 
back, if you make a fight 
of it all by trying to pun- 
ish them. 

"Children and men will 
love you if you give them 
the things they want, if 
you love them and con- 
sider them, as it is your 
duty and your happi- 
ness to do. Ordinarily 
they don't want much. I 
expect men still like to 
think they are boss, even 
though they know deep 
down underneath that in 
spiritual ways the wom- 
an may be stronger. A 
woman who is — oh, just 
kind and sweet and help- 
ful can always get every- 
thing she wants from a 
man. 

"Happy people — haven't 
you noticed it — like to 
pass on their happiness, to 
share it. Well, if a wom- 
an makes a man happy, 
he wants her to be happy, 
too. So he shares with 
her and does for her in 
return. It would be a 
mighty mean man who 
was unkind to a woman who always tried to please 
him, don't you think? Of course you have to find out 
what kind of a home and what kind of a life men 
want — each man is different, I suppose. Some like to 
go out nights and some like to stay home. Some like 
meat and potatoes, and some like desserts and salads. 
Some like to play bridge and some would rather work 
cross-word puzzles." 

She stopped and laughed. 

"T NEVER talked like this before, so maybe I'm not 
■*- very clear. I was brought up in an old-fashioned 
school, where we were taught that the husband was 
king and the best way to get along was to cater to his 
moods. When I got married, I just followed that theory. 
I have been happy for twenty-five years following it. 
No woman has had a happier life than I have. Through 
the years I have learned to know why that theory is 
sound and — and necessary." 

"Can you tell me?" I said. 

''Well," she pondered deeply, "yes, I think so. You 
know how men are. They can't change very much, can 
they? I mean, they don't adapt themselves very quickly. 
That's the way they are. But women are awfully 
adaptable. They can just pick up anything and do it. 
If a man changes much, gives in, tries to fit the 
woman's way, pretty soon he isn't a bit the strong, 
masculine man she married — and she won't like that 
a bit. 

"So, of course, the woman has to be the one to fit 
in, to change, to make a go of things and give in. I've 
heaixl women say they'd rather die than give in. They 
were awfully unhappy women, always in turmoil and 
quarrels. Why, those poor women are fighting against 
the very thing they want. {Continued on 'page 108) 



FLASH BACKS ,o,0YearsA9 ° 



By Albert T. Reid 



SEC 
4 n 



'>A^ 



Nh 



CHARLIE CHAPLIN 
DREAMED HE FOL- 
LOWED *THE KID," 
JACKIE COOGAN TO 
HEAVEN. JACKIE 
SHOVED HIM WHERE 
TO BUY SOME WINGS 




\ < 




SHIR-LEY MASON AS 
JIM IN*TREASURE 
ISLAND "WAS A VERY 
ATTRACTIVE BOY 





BESSIE LOVE WANTED 
TO DRAW, FOR HER 
FIRST CESSON WE 
MADE A SKETCH 
OF HER WHICH SHE 

AUTOGRAPHED. 

[She evidently 
found, a. more 
profitable pro- 
fession.. She 
has n-'t-been. bade 
For (tcr second 
'assort. " *•! 



THEODORE ROBERTS RAN 
AWAY WITH MOST OF THE 
PRODUCTIONS IN WHICH- 
HE APPEARED 



e 



■•'-. u 



">",.., l7*R,e*<* «-"-^ 



31 




Looking eastward across Hollywood. 



Herb Howe's Outline 

Tracing the Glamorous Career of the World's Most 

Famous Town from the Coming of the Spanish Padres 

in 1770 to the Coming of De Mille and Lasky 



ROMANTICISTS date Hollywood history from the 
coming of the Spanish padres who said a bless- 
ing over it in 1770. Others feel it did not get its 
start until Jesse Lasky and Cecil De Mille 
blessed it with their arrival some hundred and forty 
years later. 

Be that as it may, Chief Cahuenga and his pow- 
wowing braves were indisputably the first Hollywood 
settlers. Only the chief did not call the place Holly- 
wood. He had as 
much feeling for 
publicity as the mo- 
vie chiefs who suc- 
c e e d e d him. He 
called it Cahuenga 
valley. The name 
was respected by 
Father Juniper Ser- 
ra, who admired the 
chief and made the 
courteous Indians 
his "children." And, 
to this day, the name 
Cahuenga still clings 
to the main thor- 
oughfare intersect- 
ing Hollywood Boule- 
vard, and to the 
Pass into San Fer- 
nando Valley over 
which so many his- 

32 




toric processions have made their way and through 
which a mighty traffic storms today. 

Dramatic Hollywood — Hollywood has always been 
a land of swiftly moving pictures. She was born to 
drama. The stories attending her birth she has re- 
leased many times in picture form. By word of lip the 
stories have been handed down : of the Indians and the 
padres, the vaqueros and the cowboys, the skirmishes 



The birthplace of 
motion pictures in 
Hollywood. Blon- 
deau's old tavern, at 
Sunset Boulevard 
and Gower Street, 
was hired by David 
Horsley on Oct. 25, 
1911, and transformed 
into a studio. Later, 
Christie bought and 
used the building for 
a studio. The pres- 
ent Christie studio 
stands on this spot. 
The tavern remained 
until 1911. 




Hollywood Boulevard, stretching northward. 



of Hollywood History 



1930 photographs taken exclusively for NEW MOVIE by 

Stagg. Historical photographs loaned from the collection 

of the Security-First National Bank of Los Angeles. 

between Mexicans and Yankees terminating in a treaty- 
signed in Cahuenga Chapel between General Pico and 
General Fremont giving California to the United States, 
of "Greek" George and his strange caravan of camels 
from Smyrna by which the United States government 
hoped to solve the transportation problem of the South- 



BY HERB HOWE 



western deserts but only succeeded in giving another 
story to Hollywood, of Tiburcio Vasquez, the gallant 
bandit, who robbed Americans to avenge his Mexican 
countrymen and who, on his deathbed, was visited by 
the Americans he had robbed, of the proud Senora who 
defied the wretched Yankee land-grabbers and one day 



The Hollywood Hotel, the town's first de luxe hostelry, as it was in 1905. When the first wing was completed in 

1902 the hotel's application for a liquor license was refused. 




33 




Typical 1930 residential district of Hollywood: 



North Genesee Street, between Sunset and Hollywood Boulevards, 
facing south. 



tossed off her mantilla to horsewhip a thief off her 
ranch. . . . 

The land of Hollywood teems with these stories. 

Hollywood Always Formidable — La Nopalera was the 
name given Hollywood by the first Mexican settlers. It 
means "land of cactus." There were coyotes and wild 
cats as well as Indians. And even before the movie pro- 
ducers came, there were bandits. Chief Cahuenga 
and his braves chased them off when they waylaid the 
half-breed Salvador who was carrying gold for El 
Molino Viejo. Salvador in flight buried his gold near 
the present site of Universal City and never did recover 
it. Some suspect that this accounts for Universal thriv- 
ing through the years when others failed. Salvador's 
ghost is supposed to drive off all searchers for the 
gold, but the Laemmles are still there- 




First Hollywood Idol — Tiburcio Vasquez was the hero of 
"In Old Arizona" before Warner Baxter was born. He 
robbed Americans from Monterey to San Diego but 
never touched his Mexican countrymen, who were robbed 
enough by the Yankee land-grabbers. 

Tiburcio was the movie idol of his day. Women gladly 
handed over their jewels to him but he always returned 
them. When he was wounded and dying they sent him 
flowers and love. 

Tiburcio had a girl in Santa Barbara and another in 
Hollywood. Perhaps the girl in Hollywood found out 
about the senorita in Santa Barbara. Anyhow who be- 
trayed him? When Tibby came to Hollywood he lived 
with "Greek" George, the ex-camel driver. He trusted 
his Hollywood friend, which, of course, was a mistake. 

On a day in May, 1874, a dance was given in the big 
barn in Nichols' canyon. Handsome Tiburcio, with a 

price of fifteen thousand 
dollars on his head, went 
blithely to the dance and 
gave the girls a thrill. His 
pal, "Greek" George, took 
advantage of his absence 
to go to the Pueblo of Los 
Angeles and inform the 
sheriff of Tiburcio's 
whereabouts. The next 
morning Tiburcio took 
breakfast with his sweet- 
heart. He placed his guns 
on the table as was his 
habit. She objected and 
transferred them to her 
bed. Going into the kitch- 
en for his coffee he ob- 
served her waving a towel 
at the window. He knew 
what that meant and 
dived through an opposite 
window. But the sheriff 
and hia posse shot him 
twice. Wounded, he was 
caught and carried to 
town. On his bed of 

This ornate residence on 
Franklin Avenue, Hollywood, 
was the home of many stars 
in the early Hollywood days. 
Here Fannie Ward, Dorothy 
Dalton, Geraldine Farrar 
and Mary Garden lived at 
the height of their careers. 



34 




The real Hollywood: The heart of the residential district, Selma Avenue and Crescent Heights looking southeast. 



agony, he was visited by every rancher in the valley he 
had robbed, and all their wives and daughters sent him 
sympathetic bouquets. Then he was taken up to Salinas 
and hanged. 

Thus ended the first Hollywood idol. 

First Hollywood Parties— Hollywood has always been 
gay. The Indians, who were not nearly as savage as 
the present inhabitants, puffed the peaceful pipe, the 
smoke from which curling upward typified the ascent 
of their prayers to God. Father Serra found them 
dancing wildly in the Hollywood Bowl; they were try- 
ing to attract the attention of the Great Spirit. The 
old padre showed them a different way. On a hill over- 
looking the valley he erected a cross and said a mass to 
its holy wood. Some historians erroneously attribute 
the name Hollywood to this mass to the Holy Wood of 
the Cross. In San Fernando valley a mission was built, 
and, on a hill of Cahuenga 
pass overlooking Holly- 
wood, a chapel was erected 
and named for the chief. 
The Indians attended ser- 
vices here regularly. 

In the wake of the pa- 
dres came the Mexican 
and Spanish settlers build- 
ing their adobe ranch 
houses. This was the epoch 
of fiestas, now being re- 
vived as a theme of Cali- 
f o r n i a entertainment. 
Cowboys vied with va- 
queros in feats of horse- 
manship at the rodeos. 
The branding of calves 
brought the festival of 
the barbecue. Wine and 
romance flowed. Senoritas 
danced el jurave and los 
camotes to the castanets 
and guitars. 

Hollywood at $1.25 An 
Acre — The treaty by which 

Sanford Rich, the first 
mayor of Hollywood, is 
shown in the very act 
of making a speech. 
The event? It was the 
formal opening of the 
Hollywood Post Office 
inthequietyearofl906. 



Mexico gave California to the United States was signed 
by General Pico and General Fremont in Cahuenga 
chapel. 

In the early seventies John Goldworthy, the govern- 
ment surveyor, laid out Cahuenga valley in sections of 
one hundred and sixty acres, excepting the Mexican 
land grants. Danes, Germans, Irishmen, Mexicans and 
Yankees came to take up the land. John Bower, a miner 
from the Bret Harte country, took up the section of 
one hundred and sixty acres centering at what is now 
Cahuenga Avenue and Hollywood Boulevard. This 
constituted the heart of present Hollywood. Later he 
was compelled by debt to sell it for less than the gov- 
ernment price of $1.25 an acre. 

How Hollywood Got Its Name — In 1883 Mr. and Mrs. H. 
H. Wilcox arrived in Los Angeles from Topeka, Kansas, 
with their Arab horses, Duke and Royal, and their 




35 



The History of Hollywood Is Vivid Panorama of 




frame houses. Monsieur de Longpre erected 
a great house of Moorish architecture and 
created flower gardens that attracted tourist 
excursions before the studios did. 

Thus Hollywood changed its accent from 
English to Moorish. 

Hollywood's First Mayor — Hollywood became 
a golf course before it became a town. By 
starting right with eighteen holes in 1900, 
it became a town of seven hundred (souls not 
holes) in 1903. 

The other day I called on Hollywood's first 
mayor at his home on Hollywood Boulevard. 
It was shortly before his death. Sanford 
Rich was ninety years old. He was a 
champion horse-shoe pitcher. Despite his 
vitality and athletic prowess, he declared his 
memory was not what it once was. But on one 
point it was vehemently clear: He did not 
want to be the first mayor of Hollywood! 

"I voted against myself," he said, "and 
got all my friends to vote against me." 

But George H. Dunlop, the rival candi- 
date, proved stronger. Mr. Rich lost out 
and was elected. It was a hotly contested 
election between two men who didn't want to 
be elected. The vote was 88-78. 

The first ordinance put through under 
Mayor Rich's regime was one prohibiting 
bands of more than 2,000 sheep being herded 
through the streets. This has since been 
disregarded by realtors. 



A study in contrasts. Above, Vine and 
Hollywood, looking west, as it is today 
from in front of the Pantages Theater. At 
the right, Hollywood Boulevard as it was 
in 1901, a placid thoroughfare bordered 
by pepper trees. No traffic problems then. 



Negro coachman, Sam. Mr. Wilcox, a crip- 
ple, enjoyed taking long drives through 
Cahuenga valley. He was attracted par- 
ticularly to the ranch of apricots and figs 
located on the land which John Bower had 
sacrificed for $1.25. He moved a farmhouse 
onto the land and took up his residence 
there. Mrs. Wilcox perfected a process for 
drying the figs that made them famous. 

On a trip East, Mrs. Wilcox met a woman 
on the train who spoke glowingly of her 
English estate, Hollywood. Mrs. Wilcox 
liked the name and, when she returned 
to her ranch, she posted it over the gate. Mr. Wilcox, 
feeling a bit sheepish no doubt, imported two English 
holly trees to justify the name. He planted them by 
the gate, but they perversely died. Thus Hollywood 
started faking as an infant. 

The Moorish Influence — Mr. Wilcox put up his acres 
eventually into ten-acre plots, built roads and lined them 
with pepper trees. When Paul de Longpre, French 
painter of flowers, arrived at Hollywood it had become 
an oasis of flowers. La Nopalera was no more. The 
cactus and coyotes had been supplanted by peppers, roses 
and mocking birds. Many of the old peppers have since 
been cut down, but those that remain are carefully pro- 
tected, and of course we still have the mocking birds. 

It was M. de Longpre and not a movie star who in- 
spired the Moorish architecture of Hollywood. The old 
adobes were already being vacated in favor of grotesque 

36 



Another ordinance denied a liquor license to the Hol- 
lywood Hotel, the first wing of which was completed in 
1902. Mr. Wilcox, the father of Hollywood, was an 
ardent dry. Back in Kansas he had helped to make 
the state dry thirty years before the country voted pro- 
hibition. Father Wilcox might not be so happy in Hol- 
lywood today. 

In 1909 Hollywood was a city of 4,000 with a traffic 
problem. There weren't enough hitching posts outside 
the stores and automobiles were beginning to cause 
trouble. 

The Toluca stage horses went haywire one day and 
galloped right through a plate glass window into the 
bank, whereupon Cashier Greenwood galloped out the 
back door — the first cashier on record who ever took 
flight without taking funds. But the real tragedy, ac- 
cording to the annals of the day, lies in the line : "The 
charging horses completely ruined the hand-sewn cur- 



Brave Padres, Indians, Dons and Dashing Bandits 



tains which Mrs. Beveridge 
made for the bank." Another 
catastrophe occurred when Dr. 
Palmer's gentle old mare went 
mad under pressure of the ma- 
chine age and charged the en- 
tire length of Hollywood Boule- 
vard, scattering choice prescrip- 
tions all over everyone. 

Hospitality To All — The hospi- 
tality of Hollywood began with 
the kindly reception of Father 
Juniper Serra by Cahuenga and 
his men. It continued with the 
fine old Spanish settlers whose 
ranch houses were always open 
to the stranger, and a money 
bowl kept in the guest room 
from which the guest might help 
himself to gold if he needed it. 

In keeping with this tradition, 
the first sheriff of Hollywood, on 
arresting drunks, would take 
them to his home for entertain- 
ment until they sobered up. The 
first jail in Hollywood was a 
rose-covered bungalow, a civic 
feature which is thought to have 
done much in attracting the 
movie pioneers. 

The Movie Padres Arrive — There 
has been much dispute as to who 
discovered the movie possibilities 
of Hollywood and David Horsley 
was moved to write fantastically 
as follows : 

"The hieroglyphiced monu- 
ments of Egypt have, until re- 
cently, been accepted as the long- 
est-lived story-telling media 
known to man, but tablets found 
among the fossil remains in the 
La Brea deposits near Hollywood 
have been deciphered and they 
take us further back into history 
than Cleopatra's Needle. 

"The question who discovered Hollywood was being 
discussed with much heat in 250,000 B. C. A wordy 
war was being waged between rival claimants for the 
honor. Each claimant had his own staff of tablet 
carvers (press agents). These tablets were the motion 
pictures of that time. The tablets found in the Le 
Brea pits have been deciphered, but the translations 
cannot be given here 
as unprintable epi- 
thets occur frequent- 
ly. 

"The translations 
reveal that the nois- 
iest claimant was a 
young tablet carver 
who had left the em- 
ploy of the pioneer 
to announce to the 

This picture was 
made in 1901. It is 
Sunset Boulevard. 
On this spot today 
stand the Warner 
Brothers Studios. 
See the transfor- 
mation on page 86. 




Another study in contrasts. Top, junction of Vine and Hollywood, looking 

southwest. This is Hollywood's busiest corner. The Taft Building stands on 

the site of the old Hollywood church. Below, Hollywood Boulevard as it was 

in 1900, graced by the snappy Cahuenga Valley Railroad. 



world that he was the discoverer. The real pioneer 

finally got sore and told the truth. 

"Passing lightly over the intervening years we find 

a similar situation. . . . 

"I came direct to Hollywood and arrived on October 

25, 1911. A badly abandoned roadhouse — the old Blon- 

deau tavern — at Sunset Boulevard and Gower Street 

was the only imme- 
diately available site 
for a studio. I leased 
the property on Oc- 
tober 26 and it be- 
came the birthplace 
of motion pictures 
as an industry in 
Hollywood." 

The first motion 
picture made in Hol- 
lywood was "The 
Law of the Range," 
directed by Milton 
Fahrney. Dorothy 
Davenport appeared 
in another first thril- 
ler "My Indian 
Hero" and later mar- 
(Continued on 
page 98) 

37 





Photograph Tiy Elmer Fryer 

Doug Fairbanks, Jr.. in .he rdie he wanted so badly, the sky P=J °^ »* Bar,h e , m ess in Jhe DjjWjJ^ * 
acting in this par, wan a new and be^er conhac fr » irs. No o el he a re, TheJ a ^ 

^TO^^ He ET^i ££- «* .- smar.es, men , knew. M I wan.ed .a 
p do something by myself. 



38 



ME — Doug, Junior 

* 

In the Old Days he was Just Doug Fairbanks' Son, but in 
Six Years he has Won a Place in his Own Name 



By DICK HYLAND 



DOUGLAS FAIRBANKS, JUNIOR, is no longer 
the son of his father. 
The offspring of big men have more often 
than not failed to accomplish anything during 
their lives. Young Misters Ford and Rockefeller are 
noted exceptions to this; almost as noted for being ex- 
ceptions as for what they have done. 

Fact and fiction are full of the difficulties facing the 
sons of great men to whom the public looks to carry on 
in the footsteps of their noted sires. So much so that 
it seems the worst break you can give a young man is to 
present him with a famous father. 

Every time the young fellow makes a move it is com- 
pared with those made by his parent. If it is a brilliant 
move, the father will get most of the credit; if only a 
mediocre one, shoulders are shrugged and — "Oh, well, 
Papa's got all the ability in that family. Too bad the kid 
hasn't more on the ball." 

ENTIRELY overlooked is the possibility that, at the 
son's age, the father was no world-beater himself. 
Also disregarded is the effect such discouraging criti- 
cism might have upon a young, sensitive fellow who 
wants to do big things, can do big things, and will do 
them if he is allowed the same freedom of shaping his 
career, without continual disparaging comparisons, that 
was given his father. 

Try as he might, young Doug Fairbanks has always 
been known as "Doug Fairbanks' son." It was his mark 
of distinction, the thing which set him apart from all 
other boys his age. 

I remember first seeing young Doug in Paris in 1924. 
A spindly kid who seemed all arms and legs, he was 
where he was not sup- 
posed to be — in the ath- 
letes' section of the 
grandstand during the 
Olympic Games. 

A big shotputter, 
forced to stand in the 
aisle because all seats 
were taken, looked over 
the crowd. We all knew 
each other, at least by 
sight, and he finally 
found just what he 
thought he would — ■ 
someone not on the team 
who had a seat. 

"Who is that guy?" 
he asked. "The young 
one sitting in the fourth 
row next to Osborne?" 

"That's Doug Fair- 
banks' kid," he was told. 

"Yeah! Well, just 
because he is his old 

Neil Hamilton, Dick Bar- 
thelmess and Doug Fair- 
banks, Jr., in "The Dawn 
Patrol." Doug felt his fu- 
ture depended upon this 
role. And he was right. 




man's kid doesn't entitle him to a seat. What did he 
ever do?" 

"Aw, leave him alone," spoke up another athlete. "He 
is a friend of Charlie Paddock. Got in here by using 
Paddock's contestant's badge." 

"All right," the shotputter agreed, "but only because 
he's Charlie's friend. Just because he happened to be 
born Doug, Junior, doesn't mean a thing to me." 

T WAS looking at the sixteen-year-old Doug as these 
-*- things were said. He could hear them as well as I 
could and I wondered what he would do. He did noth- 
ing except stare straight out onto the field. But slowly, 
and then more rapidly, his face and neck turned a deep 
red. Which, after all, was about the only thing he could 
do without creating a scene. 

Six years later and a quarter of the way around the 
world — in Hollywood — I asked Doug if he remembered 
that day. He looked at me steadily for a moment, ap- 
parently wondering what was behind my question. 

"Yes," he said slowly, "/ remember. But I think it 
strange that you do." 

"Not at all," I said. "I thought it rather a cruel 
thing to do to a kid just out of short pants." 

"It was. It hurt me a lot at the time. But it was the 
greatest thing I ever had happen to me up until then. 
It started me thinking about things and changed my 
entire life." 

I looked a question at him, but he was quiet for a long 
time. I did not interrupt his thoughts. 

"You know," he said finally, "up until that time I 
had been only dad's son. I had not done a thing by my- 
self important enough to take credit for it. Yet I was 

invited a lot to places by 
people I hardly knew. I 
know now that the only 
reason they did was be- 
cause of my name, not 
because of me — Doug, 
Junior. 

"The more I thought 
about what that big fel- 
low had said the more I 
knew he was right. And 
then pride, or some- 
thing, stepped in and I 
made up my mind that 
I was going to do some- 
thing for myself. That 
I was not going to be 
Dad's son and nothing 
else. 

"It's been far from 
easy." 

"U/ HY didn't you 
^ » change your name 
when you went into pic- 
tures?" I asked. 

"I thought of that- 
wanted to do it. But Mr. 
Lasky, who gave me my 
first job, talked me out 
of it. He said it would 
(Continued on puge 130) 

39 



BY 
DOROTHY HERZOG 



GAY 
GRANDMOTHERS 




Blanche Sweet and her grandmother, Mrs. Blanche Alexander. 

You never would guess it, but Mrs. Alexander is past seventy. 

She adores parties and nothing makes her as happy as helping 

her grand-daughter entertain. 



FAME came a-knocking at their door and focused 
the brilliance of its spotlight on their grand- 
children. The world came to know these grand- 
children and to accord them the plaudits won 
through their celluloid ability. But to their grand- 
mothers, Bebe Daniels, Blanche Sweet, and Alice White 
are still the family. They love them because they have 
always loved them: through a fretful infancy, a mis- 
chievous childhood, and a lively girlhood. They are 
proud of their fame, to be sure. They are their ardent 
fans but their casual admirers. They keep them toe- 
ing the line and don't let them for one minute get 
away with temperament in their presence. 

I went to see Bebe's grandmother at her charming 
home on West Adams Street in Los Angeles. She has 
lived here with her daughter, "Gina", for the past 
eight years and it is here she stays, despite the rapid 
growth of Hollywood, Beverly Hills, and nearby beach 
colonies. She prefers the aged charm of West Adams 
with its wide thoroughfare, its attractive homes, its 
trees, its restful dignity. Bebe's grandmother's real 
name is Eva Guadelupe Garcia Hil de Tehada Soto Sorio 
Algo Pelasco Cresto Bonito de la Plaza Griffin. 

40 



"That's a fine handle for a morsel like you 
to tote around," Bebe scoffs. 

"It ees my family name," retorts Mrs. 
Griffin in her delicious accent as she draws 
her slim body to the magnificence of its five 
feet nothing. 

"I bet your family were a lot of high- 
binders," taunts Bebe. 

"Ha, you bet," Mrs. Griffin scorns. "You 
always bet. Then what?" But she loves Bebe 
to tease her. 

"VrOU can visualize Senora Griffin as a girl, 
I when you see her move with such regal poise 
in her cool, cheery drawing-room. You can 
visualize the silvered hair a glossy blue-black; 
the quiet eyes behind gold-rimmed spectacles 
a flashing brown; the piquant wrinkled face 
a satin, olive-skinned freshness. There is still 
a subtle youthfulness about her, the lingering, 
audacious allure that half a century ago en- 
slaved the youths of Bogota, capital of Colom- 
bia, Central America. 

Why, when Bebe made her first air- 
plane flight to New York, didn't her mother 
worry about her arriving safely and didn't 
Mrs. Griffin's eyes snap as she stated impa- 
tiently : 

"You make me seek. Some day we all fly. 
You, you are back number, Phyllis!" 

Ah, she was once the flashing belle of Bo- 
gota, was Sehorita de la Plaza. Her father 
governed Colombia, but his daughter ruled 
the eager youths who came a-courting her. 
It took a dashing American to whisk the vivid 
little sehorita from the outstretched arms of 
her impassioned admirers. George Butler 
Griffin turned the trick, and brought his bride 
to Los Angeles. 

Mrs. Griffin is the mother of six girls and 
two boys. Phyllis was the only child to seek 
a stage career. Her mother raised no ob- 
jection. Each to his temperament, she said. 
Phyllis met Melville Daniels, an actor. They 

were married. One child resulted from this union, 

a girl. 

What to name her? Mrs. Griffin knew. She had been 

reading a novel that impressed her deeply. The 

heroine's name was Bebe. Her granddaughter should 

be called Bebe. She was. 

AT the age of ten weeks, Mrs. Griffin recalled, Bebe 
made her successful debut as an actress, winning 
honorary mention in a critic's review. Her parents 
were touring in Texas. The play stipulated that Mr. 
Daniels enter the scene carrying a baby. He selected 
his own infant for the part. Bebe wasn't nervous. 
She proved it by interpolating a bit of comedy all her 
own. Once on the stage, she deliberately reached up 
and tweaked her daddy's nose. Which wasn't accord- 
ing to rehearsal at all. Mr. Daniels felt called upon 
to answer the audience's outburst of laughter. 

"Let go of my nose, you little rascal," he ad lib-ed. 

The local dramatic critic singled out this comedy 
touch in his review! 

Mrs. Griffin didn't remember whether he also 
prophesied a fine comedy future for the baby, but a 



Three who Played Vital 
Parts in Bringing Success 
to their Granddaughters 
— Bebe Daniels, Blanche 
Sweet and Alice White 



few months later Bebe's parents had her horoscope 
read and they were told that their child would 
one day be internationally famous. This was long 
before the flickering celluloids entered her life. 

"How did you feel about Bebe becoming an 
actress?" I asked. 

"Her mother was an actress." Surprised I 
should ask such an asinine question. 

Bebe was a stage star in Los Angeles at the 
age of five. She appeared with Mace Greenleaf 
in "The Prince Chap". She also appeared with 
her mother in a Shakespearean production in New 
York. They didn't remain East long. There were 
engagements to fill in the West. 

On one opening night in Los Angeles, a partic- 
ularly amusing incident occurred. Mrs. Griffin, 
Mrs. Daniels, and other members of the family 
sat next to a man and his small daughter. One 
of the acts portrayed a football game and saw 
Bebe rooting her lungs out for her side. 

"What's she doing that for?" the man's daugh- 
ter asked. 

"She's a bug," he explained. 

Mrs. Griffin glared. 

"Sh-h-h-h," Mrs. Daniels solaced. "He thinks 
a bug is a fan." 

"What do you mean, a bug?" the child persisted. 

"A bug," vaguely. "Just a bug." 

Mrs. Griffin could stand it no longer. 

"I want you to know that that girl is my grand- 
daughter," she stated clearly, "and my granddaughter 
is no bug!" 

Being a "bug" was quite a joke in the Daniels-Griffin 
household for years. 



TITHEN Bebe wasn't playing on the stage, she stayed 

*y with her grandmother on their ranch in Verdugo 

Hills, a few miles beyond Glendale. Bebe rode to school 




Bebe Daniels and her grandmother, Eva Guadelupe Garcia Hil 
de Tehada Soto Sorio Algo Pelasco Cresto Bonito de la Plaza 
Griffin, who was belle of Bogota not so long ago. Mrs. 
Griffin's father governed Colombia. She was won by an 
American, who brought her — as his bride — to Los Angeles. 




on horseback. She stopped in town one afternoon and 
the horse walked home without her. 

"Bebe, she was not afraid," chuckled Mrs. Griffin. 
"She walk to a store where we know the proprietor. 
She ask him for his gun. She don say anything why 
she want it until he ask. Then she tell heem she want 
it to escort her home because she has to walk. She 
didn't get the gun but she get home all right." 

Bebe has her grandmother's fearlessness. She has 
only one-quarter Spanish blood in her veins, but that 
quarter, being Senora Griffin, is 
enough. 

"Were you afraid when you went 
up for your first airplane ride with 
Ben?" I asked. Ben Lyon is now her 
grandson-in-law. 

"Afraid? I? I am never afraid. 
Come, I show you my dolls." 

A special alcove off the entrance 
hall has been arranged to provide for 
the hundreds of dolls Senora Griffin 
has collected. She first showed me 
the Bebe Daniels doll, created after 
her characterization in "Argentine 
Love." 

"It ees nice, yes?" holding it up. 
"Yes." It was charming. 

"And here, 



Alice White and her 
grandmother, Mrs. San- 
felici Alexander. She 
is Italian. She was 
married in Milan when 
she was twenty, forty- 
eight years ago, and 
migrated to Paterson, 
N. J., with her husband. 



here ees one 
from Mexico. 
You can see 
by the face, 
yes?" I could. 
"H ere ees 
one that ees 
white, so?" 
{Continued on 
page 116) 

41 




Photograph by Edward Thayer Monroe 



When Edmund Lowe, popu.or Broodw ay -stag . Ida. ^^^^t^Jt^ 
footlight beauty, they did not ^ nk ^.^Z^^J^^i^^ Mrs. Lowe has 
Now the handsome Mr. Lowe plays hardbo.led sez you sez me mar,n h knQW how to 

become known as one of the best dressed women in all Hollywood, iney do 

steal a picture. 



42 



ADVENTURES 



INTERVIEWING 

The Famous WriterTellsAboutHis Encoun- 
ter With Jack Gilbert — and the Friendship 
That Grew Out of the Misunderstanding 

By JIM TULLY 

HOLLYWOOD is often called ruthless. It is more 
the fault of the intensity under which films are 
made, than of the harsh natures of the people 
who make them. 
The "run around" — that method by which people 
who are successful proteet themselves from many who 
are not — often has its roots in kindness. 

All classes come to Hollywood, and among the vast 
number are scores who are unsuited to the business. 
Such is human ego, that if these people are told the 
truth, they will not believe it. 

The larger natures in the film colony, like those of 
their kind the world over, have compassion and under- 
standing. The little people, similar to citizens of their 
type everywhere, are ever and always the same. 

With but few exceptions, no person in Hollywood has 
ever remonstrated with me for any published opinion. 
Being public figures, they accept what is written, grace- 
fully, and often with humor. 




[ ONCE wrote of Frances Marion, a close personal 
J- friend, with some harshness. A superior and a 
charming woman, she read the article and sent me a 




Albert Davis Collection 

Jim Tully tells the story of Helen Holmes, the 
art model who became the most daring of 
early film stars. Miss Holmes risked her life 
many times in a series of railroad thrillers 

telegram which read, "For heaven's sake, Jim, give me 
one break. Say that I can really read and write." 
When storms later waged about me, Frances remained 
an understanding friend. "I know you, Jim. You're 
Irish like myself — and just a bad boy," she said to me 
a week ago. 

But I hastily admit that Frances is so magnanimous 
that she could find an excuse for Nero. If someone 
mentioned him with too much acrimony in her presence 
she would quite likely say, "Oh, well — maybe the poor 
boy did want to see a fire — and besides, Rome wasn't 
so large in those days." 

My first meeting with Jack Gilbert was at the home 
of Matt Moore, several years ago. A few months pre- 
vious I had completed a series of articles in which I 
took each state separately and wrote about the different 
actors who had come to Hollywood from each section. 
Thus I had made quite a study of the biographies of 
all the prominent film players. In 
a joking way, I said : "You know, 
I can tell you where everyone in 
pictures was born — in fact, almost 
anything you want to know about 
them." Jack immediately declared 
that to be impossible. I suggested 
that he try me out. "Where was I 
born?" he said quickly. "In Logan, 
Utah — back-stage in the dressing- 
room of a theatre," I replied. Jack 
looked at me in amazement. 

r PHE newspapers ' of the world 
-*- have had much to say of the re- 
cent encounter between Jack Gilbert 
and myself. Like Mark Twain's 
death, the details were exaggerated. 
It took place in the Brown Derby, 
an eating place made famous by a 
dear friend, Wilson Mizner. 

Jack came into the restaurant ac- 
companied by Sid Grauman and Ina 
Claire. He had not seen me since 
I had {Continued on page 97) 

Jim Tully says that Louise Dresser is the 
most charming woman he has ever 
known. Here Mr. Tully tells how Miss 
Dresser adopted her name and how 
she gained success. After years of 
popularity as a singer, she became 
famous as an actress. 

43 




Mighty 

Lak' 

a 

POSE 



By 

STEWART 

ROBERTSON 



' Quite so," said the slightly dazed Alastair Weems-Wembley," you do 
things hurriedly over here, don't you? I hope I'll prove satisfactory." 



["MVE O'CLOCK on any blue and silver Hollywood 
afternoon is all things to all people. Publicity 
men emerge from delirious optimism to wonder 
if the wife remembered to water the lawn, street 
cai-s are boarded by extras with greasepaint left care- 
fully on the back of their necks so that the world will 
know they are actors, and, in a smoke-laden cubbyhole 
at the Fascination Studios, Mr. Nebuchadnezzar Smeck 
was generally to be found in the throes of his daily 
crisis. 

Without this spur to his abilities Mr. Smeck would 
have considered himself a flop as an executive, and now 

44 



he flourished a sheaf of contracts as he 
frowned across at Miss Cherry Dorval, 
his dusky-haired, sloe-eyed star. 

"Right here," he declared, "I got the 
options for two of them classy, tea- 
drinking society dramas. Swell stuff, 
baby, all full of marmalade, ancient 
emeralds, strawberry marks and a flock 
of the charming people that disguise 
their evil intentions behind what these 
literary punks call epigrams. Between 
you'n me, a stevedore could say it bet- 
ter, but a production manager can't have 
everything." 

"Just my style," crooned Miss Dorval, 
turning pink with excitement. "If there's 
anything I enjoy it's one of these 'Will 
you — ah — sit down?' things. Reminds 
me of when I was a deb in dear old 
N'Yawlins. I suppose we'll have a 
wainscoted dining-room, crests on the 
doors of the motor car, and an entrance 
hall the size of the Southern Pacific 
depot." 

"Also," said Mr. Smeck dismally, 
"we'll need an Englishman. That's 
what's got my forehead looking like a 
washboard." 

"But why? The woods are full of them." 
"Big, fat ones, yes," agreed the executive. "Butlers, 
bishops and bums— -all them types are underfoot, al- 
most, but what I got to have is a long, lean, blond aris- 
tocrat that looks as though even Clara Bow couldn't 
raise his temperature a tenth of a degree. And he's 
got to be real British, baby, because keeping up the 
accent's too much of a strain on home-grown tonsils." 
"But where will you find one, outside of London?" 

I WISH I knew," groaned her superior, "but my mind's 
made up about having him. We got gangsters, 
flappers, he-men, warblers, hoofers and half a gross of 



He Was a Scion of British 
Aristocracy and She Was 
a Daughter of the Old 
South. At least That Was 
What Hollywood Thought 

Illustrated by 
CHARLES D. MITCHELL 



well-sharpened profiles, and now to round 
out the menagerie all we need is a hand- 
some juvenile who behaves as if he'd 
been born in a morning coat on the 
sunny side of a Sussex garden party." 

"I'm so thrilled!" enthused the lus- 
trous Cherry. "This will give us a hall- 
mark of distinction and, besides, these 
Englishmen are polite and easy to 
handle. They save wear and tear on a 
star's feelings, not to mention her ribs, 
judging by the way a couple of your 
virile thugs have made love to me in the 
past. There's money in the gentlemanly 
type, too. Look at Cosmic Pictures and 
that Pilkington youth." 

"He's a gold mine," nodded Mr. Smeck 
enviously, "and the world knows that, 
compared to us, Cosmic is damaged 
goods. We'll put a tea-taster on the 
market that will leave them with their 
little fingers in the air. Well, let's eat. 
What do you say we go to the Bird 
Cage — the picture mob ain't discovered 
it yet, and there won't be no geniuses to 
spoil my appetite?" 

Inside twenty minutes they were 
tucked away at a corner table in a gaily- 
awninged little courtyard, and the mas- 
ter mind waved a stalk of celery as he 
peered into the future. 

"I want a new face," he declared. "I 
want somebody who doesn't act like an 
actor and " 

"I should like creamed scallops with 
mushrooms," said a strong and pleasant 
English voice, "broccoli, carrots and 
frosted coffee. Right?" 

Mr. Smeck and his companion stared 
incredulously at one another. The 
speaker's tones were mellow as an old 
violin, as crisply tender as meringue and, 
most admirable of all, he handled his 
R's with that slight burr so beloved by 
elocutionists. Then, as a waitress teet- 
ered away, the listeners jumped to their 
feet and tiptoed around a tub of peonies to view this 
paragon of phonetics. 

They saw a loose-limbed individual of Apolloesque 
features, smoothly brushed hair the color of toffee and 
a pair of eyes as deeply blue as Crater Lake. Curiously 
enough, his face was devoid of expression, but Mr. 
Smeck, on the verge of swooning with joy, failed to 
notice this. 

"1LJE ain't real," he whispered. "Not that face and 
Ai- voice together in one ensemble! There must be 
another fellow hiding under the table, or something." 




Don't worry," soothed the beautiful Cherry Dorval. "I'll be delighted 
to help you all I can — and that's a lot.' 



His chattering aroused the handsome youth, who 
turned his decorously blank countenance upon him and 
frowned slightly. "What the devil are you gazing at?" 
he demanded. 

"Mister," pleaded Mr. Smeck, "say it again." 

"Say what?" 

"All that food. I just want to hear you talk." 

The other inspected him as a naturalist would some 
new and interesting beetle, then his blue eyes flickered 
surprisedly as Miss Dorval edged into view. "Most 
peculiar request," he murmured. "Well, here you are." 
Again the golden voice rattled off the order. 

45 



"Listen," said 
the production 
manager, trembling 
with anticipation, 
"don't be insulted, 
mister, but do you 
want a job?" 

To his astonish- 
ment, the youth 
sprang to atten- 
tion, his expression 
more regimental 
than ever. "Yes, 
sir, I do. In fact, 
that's what I came 
out here for." 

"We could tell 
that," smiled Miss 
Dorval. "How long- 
have you been in 
Hollywood?" 

"Two days. Of 
course, I've just 
been looking 
around before 
choosing a place 
where I'd like to 
work, but " 

"Then you ain't 
had a test?" in- 
quired Mr. Smeck. 

"D o they test 
you? Well, really, 
when one has true 
ability " 

"I'll say you've 
got ability," said 
the movie man, 
"which is why 
even before you 
get a chance to in- 
hale them scallops, 
I want you to give 
Fascination Films 
an option on your 
services." 

"Fi 1 m s ? " re- 
peated the youth. 
"You mean the 
cinema? Me?" 

"Oh, you English!" tinkled Cherry. "Trying to spoof 
us, aren't you? This is the great Nebuchadnezzar 
Smeck, and he's been searching for a boy just like you 
to play opposite me — Cherry Dorval — in society pic- 
tures. And something tells me you know all about the 
social set." 

"Me, too," seconded Mr. Smeck. "You've got that up- 
stage flare to the nostrils that seems to go with the blue- 
bloods. You wouldn't be an oil, now?" 

NOT an earl," said the youth, flushing angrily. "Dis- 
tinctly not an earl — they have gout and bad tem- 
pers, and all that sort of thing, you know. Or, perhaps, 
you don't." 

"Well," shrugged Nebuchadnezzar, "any time you 
want to break down and confess you're a duke it 
wouldn't hurt the publicity none. Why, I can see 
right now that you'll screen better than Cosmic's 
Pilkington, and I'll bet you've got a sweller name, too. 
Come on and tell us ; I'm all of a Tennyson." 

His quarry seemed to be secretly amused. "Nothing 
short of Fate," he muttered absently. "Hollywood, the 
cinema and a beautiful girl. Astounding, if I may say 
so. Oh, the name? Well, it's Weems-Wembley, old chap, 
with a hyphen thing for the little birdies to roost on." 

"A hyphen, no less," shrieked Mr. Smeck, beside him- 
self with delight. "The only one in the movies! Now 




spring me the first name." Mr. Smeck waited breath- 
lessly. 

"Alastair." 

The production manager fell gasping into a chair. 
"I knew it!" he wheezed. "Alastair Weems-Wembley! 
Oh, but will that make the other companies curl up 
with their second-hand Joes and Tommies. Say, the 
minute I seen that haughty droop to your eyelids, I 
says to myself, 'here's quality.' " 

"Thanks," bowed the hyphen, his eyes on Cherry. 

"It's a gift with me, discovering class," Mr. Smeck 
assured him. "Well, so long, Mr. Weems-Wembley — 
heh, heh, it's got a sound like dragging your feet over 
a velvet carpet — we'll leave you eat in peace, but I'll 
expect you at my office in the morning." 

"Quite so," said the slightly dazed Alastair. "Whew, 
but you do things hurriedly over here, don't you? I 
hope I'll prove satisfactory." 

"Don't worry," soothed Miss Dorval. "I'll be de- 
lighted to help you all I can — and that's a lot." 

This statement, accompanied by a high-tension flash 
from her opalescent eyes, almost dispossessed Mr. 
Weems-Wembley of the last remnant of his London poise. 

"S-s-e-so k-k-k-kind," he stammered. "Charmed to 
have seen you," and as the picture people smiled their 
farewell he slid back into his chair, wondering when 
he would wake up. For the last two years he had been 



HOLLYWOOD WENT IN FOR MARMALADE DRAMA 



46 




one of the army of gentlemen who, in company with 
the girl of the moment, went to the cinema palaces to 
torture themselves by blinking at the unattainable 
Cherry Dorval. Yet now she had stood within six feet 
of him and frankly shown her approval. Very prob- 
ably he might even be called upon to kiss her! 

BACK at their table, the radiant Mr. Smeck watched 
his star indulge in some feverish eye-rolling. 

"He's the genuine thing," she whispered excitedly, 
"and I'll bet you he sports a title when he's at home." 

"That idea's identical with me, Cherry, but maybe 
he's one of them younger sons with a past that makes 
Bluebeard look like a Boy Scout." 

"You're ridiculous! He couldn't be anything but 
magnificent — that Viking head, the figure of a Grecian 
statue and those icy blue eyes that — that " 

"Sounds like Shakespeare's ballyhoo for Hamlet," 
grinned her employer. "Go on, let's have the climax." 

"That can be melted," finished Cherry defiantly. 
"And furthermore, I'm going to try it. It won't be 
any strain to play love scenes with Alastair, and I 
wasn't known as the Torch of N'Yawlins for nothing. 
Oh, Nebby, I'm sure it was Fate that brought us 
together!" 

"Hey!" shouted Mr. Smeck, much alarmed at her 
symptoms. "Save that Louisiana lure for someone else, 
you hear me? Don't you know that this siren stuff has 



Alastair played with 
a vehemence that 
astonished Cherry 
Dorval. He courted 
her just as though 
they were not sur- 
rounded by a ret- 
inue of gaping and 
unlovely mechanics. 
Though sheknewthat 
five o clock would 
transform him into a 
correct young man of 
incredible shyness, 
she met him halfway. 



busted up more 
than one set of 
screen sweet- 
hearts ? And my 
middle name ain't 
Fate ; it's Ferdi- 
nand. This hyphen 
I've captured 
seems a fine, sound 
and sensible guy, 
and I don't want 
him vexed by a 
vamp except in 
front of the cam- 
era." 

And at that very 
moment the sound 
and sensible guy 
was smiling dream- 
ily into the future 
and putting salt in 

his coffee. 

* * * 

IN less than two 
weeks Mr. 
Weems - Wembley 
had barged serene- 
ly through a hur- 
ricane of tests, in- 
terviews and studio 
luncheons, and had 
succeeded in getting himself talked about by the simple 
expedient of doing nothing at all. Nobody knew whether 
he collected scarabs, suffered from hay fever, nor how 
he stood on the concealment of the knees; neverthe- 
less, more than one Hollywood hostess began prowling 
through her guest list to see whom she could sidetrack 
in his favor. But Alastair politely refused all invita- 
tions, remaining entrenched in his new suite at the 
exclusive Musclebound Arms. 

A psychologist would have detected signs of fear in 
his behavior, but to the effervescent Mr. Smeck, beam- 
ing on the cast of his newest society picture, the hy- 
phenated hero was two degrees better than perfect. The 
players, an assortment of the traditional types capable 
of throwing the broad A for a loss, crowded eagerly 
around, leaving a little space in the center for the leads. 
"Ladies and gents," bawled Mr. Smeck, "when the 
first scene of this epic trickles onto the film and sound 
track you'll be making not only a box-office wow, but 
history? Why? Because we got amongst us the only 
guy in Hollywood who can say 'Home, James,' and look 
as if he meant it. Now, the plot's about a Quaker girl 
who has the cute habit of ditching her fiances at the 
church door, so it's called 'Too Good to Be True,' and 
the action is just as subtle. Therefore, as my broker 
likes to say, give me all you've got." 

"On the set, please," called the director, and for the 
next half hour he outlined the (Continued on page 114) 



AND NEEDED A HAUGHTY, BLOND ENGLISHMAN 



47 




The Pictoria 
History of 
HAROLD 

LLOYD 



I. Harold Lloyd faces the 
camera for the first time. The 
age is 18 months. The place 
is Burchard, Nebraska, where 
Harold was born. With no 
thought of his future as a 
comedian, Master Lloyd is 
registering dignity. 



Pictures from the Albert 
Davis Collection 





II. The house where 
Harold was born at 
Burchard, Nebraska. 
The date, which 
stands in red letters 
in the history of 
Nebraska, is April 
28, 1893. 



III. When Harold first arrived in Hollywood he played extra roles. At 

the left, Harold ( honest ! ) as a bearded pard in a Western drama. 

Below, in 1913, Harold had reached the heights of playing bits (at $3 

a day) in support of J. Warren Kerrigan. 




48 




IV. Above, an unpublished portrait 

of Harold, taken a few days after he 

ventured to Hollywood. 





VI. Harold and Bebe Daniels in one 
of the first Lloyd comedies made 
after the comedian adopted spec- 
tacles. Lloyd immediately burst into 
prominence and popularity. 



VIII. Harold (right) as he looks to- 
day in his screen make-up. In real 
life, Lloyd doesn't wear glasses. 
That's why so few recognize him 
when he appears in public. 



V. Harold's first 
venture as a come- 
dian was in the char- 
acter of Lonesome 
Luke, shown at the 
left. Luke never 
quite hit the gong, 
although Harold 
showed promise as 
a laugh maker. It 
was not until he 
donned glasses and 
hit upon his present 
comedycreation that 
success came to him. 







VII. Harold met 
Mildred Davis and 
made her his leading 
woman in "Grandma's 
Boy," one of his most 
successful comedies. 
Then he married 
Mildred. At the lower 
right, a prophetic 
scene from this 
early comedy. 



49 




Ben Lyon and his bride, Bebe Daniels. The bridal party, from left to right: Mae Sunday, Adela Rogers St. Johns (Mrs- 
Dick Hyland), Lila Lee, Diana Kane Fitzmaurice, Louella Parsons, Mr. and Mrs. Lyon, Rita Kauffman, Constance Talmadge 

Netcher, Marie Mosquini, Betty Compson. 

BEBE Gets Married 



DARLING: 
Well, the wedding was simply too divine. 
Everyone says it was the most beautiful wed- 
ding ever held in Hollywood and I suppose 
maybe that means everywhere. I do know Bebe was 
the loveliest bride I ever saw in all my life. She was 
simply breath-taking when she walked down that aisle. 
Her eyes were like stars. 

To go back and be chronological — that's a two-dollar 
word, darling — we all dressed at the Beverly-Wilshire, 
that swank hotel on Wilshire Boulevard in Beverly 
Hills, where the wedding was held. We had to do that 
because the dresses were all made of tulle, and you 
know how easily that crushes. 

DHYLLIS DANIELS had arranged four big bedrooms 

in a row on the second floor, with everything in them, 
and we arrived about seven. The wedding wasn't until 
eight-thirty, but we didn't want to worry Bebe, and 
besides there were such crowds in the streets that you 
might get delayed and not get there. 

Billy Radigan, who made the dresses — he did the 
Chrysler wedding in New York and came out specially 
for this — was there and had girls waiting to help us. 
It was too exciting, all dressing together and seeing the 
dresses finished for the first time. 

Connie Talmadge wore pale yellow, and with her 
summer tan it was stunning. Lila Lee was in darker 
yellow, which set off her black hair and eyes. They 
were partners. 

Then Mae Sunday was a vision. Her dress was a 
coral pink and her bouquet was coral roses, the most 
beautiful I ever saw. Betty Compson was her partner, 
in shell pink. 

Diana Fitzmaurice, who has positively the grandest 
figure, which everyone always raves about, was in deep 
orchid, and Rita Kauffman — Al Kauffman's wife, was 
her partner in delicate orchid. 

50 



Then Marie Mosquini, who is almost like Bebe's sis- 
ter and has been her pal ever since they were both in 
Roach comedies, wore one shade of blue and Adela 
Rogers St. Johns another. They both had deep pink 
roses which were stunning with the blue. 

The hats were tulle and malines, big picture things — 
so flattering. 

Bebe came in about seven-thirty and she and her 
mother went in one room and we weren't allowed to see 
her until she was dressed. Then she called us all in. 
Her dress — well, it was perfection. Tight fitting with 
a long train, of hand-woven ivory satin and Italian 
lace. And a real lace veil that was yards long. Her 
bouquet was white orchids and lilies of the valley. 

Phyllis — that angel — was in pink lace. 

DEBE made us all stand around, two by two as we 
■*-* were to march, and she said we were the nicest 
bridesmaids she ever saw. We all cried — really — but 
just from happiness. She wore a little blue pocket 
that had been her grandmother's under her dress and 
Louella Parsons' tiny diamond pin — "the something 
old" — in her veil. 

You should have seen Louella. Her dress — as matron 
of honor — was different. Pale green chiffon, with a 
rather severe hat. She never looked so well, not even 
at her own wedding. 

Everyone was so nervous. Connie Talmadge most of 
all. She had everyone in hysterics, she got so excited. 
Wouldn't you think girls like Connie and Betty Comp- 
son wouldn't ever be nervous? But Connie was. 

It was a very sweet time, those few moments before 
the wedding, and I don't think any of the girls will 
forget it. Old friendships, you know, of years' stand- 
ing. Marie and Bebe since they were kids. Adela 
Rogers knew Bebe when she was a child. Her father 
and Bebe's grandfather were great friends, and Adela 
used to go out to their ranch (Continued on page 125) 



LAUGHS of the FILMS 




51 




// 



n the Midst 
of Life — " 




Photograph by Spence Airplane Photos 



'TPHE earthly remains of Rudolph Val- 
■"■ entino lie within a hundred yards or 
so of the scene of his great successes. 
Herb Howe pointed this out last month 
in his Hollywood Boulevardier. 

Side by side, separated only by a high 
green cypress hedge, are the Paramount 
Studios and the Hollywood Cemetery. 
The cemetery occupies the center of the 
picture above: the studio grounds lie in 
the lower section of the airplane shot. 
The arrow points to the Hollywood 
Mausoleum, where Rudie lies. 

This studio space formerly belonged 
to United Artists. Paramount took it 
over later. While it belonged to United 
Artists, Valentino made his last great 
pictures, "The Eagle" and "The Son of 
the Sheik," there. Thus Rudie sleeps 
within sight and sound of the very 
stages where he moved so gaily and so 
happily at the height of his career. 

Rudie lies in space allotted by his 
friend and discoverer, June Mathis, who 
has since died and been buried beside 
him. Fifteen feet away from Rudie's 
crypt is that of Barbara La Marr, who 
also made her last production, "The Girl 
of Montmartre," at this studio. 

Just across the hedge, on the Para- 
mount lot, is the bungalow _ dressing- 
room, once occupied by Rudie. It is 
shown at the left. It is now used as 
the receiving station for all Paramount 
fan mail. 



She 

Didn't 

Want to 

WORK 

But Kathryn Crawford's First 
Hit Has Taught Her that 
Success Doesn't Come Easily 

By JACK BEVERLY 





IOTS of interesting stories 
around Hollywood. Be- 
J hind every screen per- 
formance there are 
stories. Looking at the sur- 
face, you'd never suspect 
them. 

Kathryn Crawford, for 
instance. Just made such 
a big hit in Buddy Rogers' 
picture, "Safety in Num- 
bers." She didn't want 
to do the part. Took it 
after Sharon Lynn had 
walked off the lot rather 
than play it. 

Yet right today Kathryn 

Crawford is finding out 

that sometimes success 

comes too easily. Right 

now she is going through 

dark days. I told her 

that everyone has to 

learn that too many 

boosts, too many easy 

successes, too much 

facility often result in 

mental and professional 

indigestion. A good 

shove, coming at the 

right time, will be the 



Kathryn Crawford 
got the role opposite 
Buddy Rogers in 
Safety in Numbers". 
Her resounding hit 
means hard work for 
the future. 



\ 



U 



■ • 



Kathryn Crawford made her stage success so easily that 
it was hard to fit herself to a stiff movie training. At 
eighteen she was starring in Pacific Coast musical comedy. 
At nineteen she won a two-year movie contract. Now she 
finds that hard work alone will carry her to the top on 
the talking screen. 

best thing in the long run for getting ahead. 

At seventeen Kathryn Crawford was an unknown 
youngster, graduating from Huntington Park High 
School, just outside Los Angeles. 

At eighteen she was the star of "Hit the Deck," in all 
the big cities of the Pacific Coast. It was the most popu- 
lar musical show that ever played in Los Angeles and 
San Francisco and she was up in headlights. 

At nineteen they begged her to take a two-year 
motion-picture contract as a leading lady — and she had 
never stepped in front of a camera. 

ALL that in two short years, and she never had really 
■ done a lick of work. Never studied, never trained. 
Wouldn't even stick it out in a stock company. She got 
by — because she had a lovely natural voice, a lot of nat- 
ural grace, and was very pretty to look at. 

Now Kathryn has lost three big parts in a row, the 
last of them a great starring part in the title role of 
"Naughty Marietta." Today Kathryn thinks she is a 
flop. Which just proves how wrong anybody can be. 
Because there isn't anyone around here who really has 
more to work with than Kathryn Crawford. Only these 
shoves are going to teach her that in the end everybody 
in this game has to work. 

Contrast her amazing rise with what some others 
went through in attaining the point in their careers 
that Kathryn had handed to her on a silver platter only 
two years out of high school. 

Remember how Gloria Swanson struggled to get her- 
self out of a Sennett bathing suit. Mary Pickford 
worked on the stage and in pictures from the time she 
was a child. Greta Garbo found the way none too easy 
after her arrival in Hollywood. Vivienne Segal and 
Marilyn Miller worked from childhood to gain their 
places in musical comedy. They studied voice and danc- 
ing, practising hours every day. 

Those girls climbed slowly, but underneath them they 
built sure foundations and ability to work. 

They were slow but sure. 

{Continued on page 124) 

53 



The HOLLYWOOD 




A film actor at home. Herb Howe says most of the wal 
in most Hollywood homes is divided between portraits 
owner and mirrors. 



HOLLYWOOD IRONIES: The greatest heart in Holly- 
wood has the worst breaks. 

A vampire was vamped of her life savings by a gentle- 
man friend she trusted. 

A sweetest of the sweet is considered by all hands 
the meanest horse on the lot. 

The most fiendish villain likes to cook and make 
things for the home. 

A nectarious little flower got her chance through the 
plugging of her boy fiance, a reporter, and on the 
night of her triumph threw him down for an actor. 

A foreign charmer perfected her English. She made 
good by speaking her original accent and now pretends 
she can't speak without it. 

A great lover of the screen was unable to hold either 
of the women he loved. 

A noted director was coached each night on what 
he should do next day by his little, old crippled mother 
who never had seen a studio; when he married against 
her wishes she refused to help him and he hasn't been 
heard from since. 

Another director, once famous but now a hostage of 
alcohol, teeters each evening on a curb in front of a 
studio hoping for a hello from those he once directed. 

A typical American hero had to be taught baseball. 

An actor who gave more fine performances to the 
screen than any other suddenly quit Hollywood in 
disgust and hasn't written to anyone since he left. 

A favorite of the fair has never fallen for one of 
them. 

A cowboy hero used to cry himself to sleep at night 

54 



Rin-Tin-Tin Doesn't Believe 
in Art — Hollywood Tele- 
phones — Film Problems of 
Maurice Chevalier and 
Lillian Gish 



during his first Westerns. He was truly 
afraid of horses. 

A dumb animal made the talkies possible. 

Dumb Animal Bright Star. The dog Rin- 
Tin-Tin paid the way for Warner Brothers 
while they were experimenting with sound 
pictures. The profits of Rin-Tin-Tin's pic- 
tures enabled them to adventure with 
talkies. Now that the Warners are multi- 
millionaires and John Barrymore is vocally 
a box-office attraction, Rin-Tin-Tin is taking 
a well-earned rest and going on a world tour. 
He is taking with him Lee Duncan, his man- 
ager, to whom oddly he credits much of his 
success. Lee, when a soldier in the trenches, 
discovered Rin-Tin-Tin, who was likewise 
doing his bit. When the war was over, Lee 
persuaded Rin to return to Hollywood. His 
beauty, his charm and, of course, his brains 
(for do we not know that brains are neces- 
sary for screen success?) made him a star 
over night. 



space 
of the 



Brings Home Bacon. Rin-Tin-Tin is not 

quitting the talkies because of any vocal 

deficiency. His voice registers better than 

any other actor's with the possible exception 

of Bull Montana's. He is one of the few stars who has 

not had to engage a coach for English. Dumb animals 

long ago devised an Esperanto which enables them to 

make their meaning clear not only to other animals 

but to the dumbest of humans. 

Although Rin is responsible for the talkies he never 
attends them. He doesn't even see his own pictures. 
He never attends premieres. He doesn't even make 
personal appearances except when assured he will bring 
home the bacon well digested. 

It isn't that he is mercenary. He would do anything 
for a friend. It's simply, that, like Garbo, he has no 
use for the term "Art". Like Greta, he sees his work 
as a way to earning a living and is content so long 
as the bacon hangs over the camera. 

Shrewd, he does not ask for a producer's promise, 
verbal or in contract. He merely demands that the 
pay be hung over the camera in plain sight where he 
can get at it when he finishes his work. When it isn't 
there he goes home, just as Garbo does. 

A noble Christian is Rin-Tin-Tin, asking only his 
daily meat, always happy to serve his fellow-man. 

Do Your Worst, Clara Bow. O. 0. Mclntyre warns us : 
"Cesare Lombroso, great criminologist, found that 
women engaged in poisoning and such — were red-haired. 

Then again some are just Henna Hell-raisers. 

Anyhow, Clara, I don't care ... do me your worst! 

Science Would Protect Us. Advertisement: "Frank A. 
Due (Duke) 'The Human Nightingale,' presented by 



BOULEVARDIER 



By 
HERB HOWE 



Fanchon and Marco . . . featuring his high soprano 
and tenor voice. A group of eminent scientists valued 
Due's vocal organs at $25,000 and are willing to pay 
his heirs this sum for the privilege of dissecting the 
chords after his death." 

How long, Oh Lord, how long! 

Starry or Goofy? The telephone rings. 

In Hollywood, when the telephone rings, one never 
answers in person unless one is a nobody. One always 
summons a servant even though the telephone be at 
one's wing. If one can't afford servants one has to 
cultivate several voices . . . butler's, secretary's, press 
agent's, etcetera's. Even stars who have servants 
cultivate their voices because one never knows when 
the servants may up and leave over a question of 
back salary or turn up tight and tell you to answer 
the gottamed thing yourself. A star I know often an- 
swers the phone with an English accent instead of his 
native bowery. 

"Who is calling Mistah Punkham?" he intones. 

"Mistah Howe," says Ah, pretending I'm my secre- 
tary. 

My friend then says, "One moment please, Mistah 
Howe, while I see if Mistah Punkham is in." Business 
of covering the mouthpiece with his hand while he 
counts fifty, then boyishly, "Oh, hello Herb, old fellow." 

"One moment please, Mistah Punkham," says mah 
secretary. Business of counting fifty, then, "How are 
you, Punkie, old man?" 

Actors will be actors and if you hang around with 
them long enough you'll either become one at five 
thousand a week or get free board at the psycho ward 
for playing games with yourself. 



Speak for Yourself, Herb! I asked the girl at the 
switchboard to get me Mary Duncan and call me back. 
After several tries the operator despaired, "I get Miss 
Duncan but she hangs up when I say, 'just a minute.' " 

Seizing the 'phone I dial Miss Duncan on to the 
wire. "Hello, Mary." 

"Oh, hello, Herb." 

"Why have you been hanging up?" 

"I thought it was someone's secretary calling, and 
I'm fed up on this Hollywood stuff of having a secretary 
call. Why don't you speak for yourself, Herb?" 

Maybe you think I didn't. 

Let this be a lesson to other 'phoney Johnny Aldens. 

Just a Letter. A letter from Mr. and Mrs. T. Steel- 
man of Pleasantville, N. J. : 

"New Movie Magazine being a new one, our writers 
start out fair and square without dirty slams. I 
thought I'd write you a line and tell you I enjoyed 
every page. Other movie magazine writers are getting 
mean in their write-ups of certain radio stars — and 
one, 'The King of the Air,' the only star of stage or 
screen or radio who holds the honor of singing (by 
special request) for Mrs. Hoover, first lady of the 
land — has been standing up under the worst write-ups 
I have ever read. No movie star could survive such 
attacks, not one of them. Now, last evening we lis- 
tened in on the movie stars broadcasting — Buddy 
Rogers and others — and such a miserable broadcast I 
never heard. It was rotten. It goes to show the movie 
stars are flops on the radio and should be razzed — 
that is, if the movie magazines insist on insulting the 
radio stars. . . ." 

But then again you can't blame us for giving some 



Drawings by 
Ken Chamberlain 



Herb Howe's next Boulevardier chat 
will come from Paris. At this moment 
he is resting along the Boulevards, 
considering people and things — for 
your benefit, of course. 



V: 




HERB HOWE Relates Some of Hollywood's IRONIES 




Rin-Tin-Tin is going on a long and well earned vacation — a trip around the world. Rin is the dog who made the 
talkies possible. He helped pay the way for the Warner Brothers while they were conducting their now famous 

sound experiments. Rin revolutionized the movie world. 



movie stars the air. It's the same old thing over 
again: the devil and the deep sea. There just doesn't 
seem to be any place for some of our star entertainers. 

Warning to Marie and Polly. Evangelist Aimee Mac- 
Pherson was filmed for the news reel in the act of 
entering a lion's cage at the Selig Zoo. She thereby 
demonstrated that she has the stern stellar stuff that 
made Pearl White and Kathlyn Williams. 

Aimee wants to enter the movies. She has incor- 
porated herself for the purpose. And what Aimee wants 
to do she does. 

You recall her as the lass who, upon arising from the 
sea like Venus, was snatched by kidnapers and taken 
for an impious ride, from which she walked home across 
the desert without loss of shoe shine. 

I was present at a dinner of the Wampas when Aimee 
was honor guest. Having cabbaged more headlines 
than any mortal of this age, not excepting Peggy Joyce, 
Aimee was naturally hailed a fellow by the press agents. 
She returned the compliment by greeting them as 
brothers and sisters. 

With a soul-saving smile she said she had been hon- 
ored similarly by the Shriners of Des Moines. They 
made her a Lady Noble — the first Lady Noble, she 
believed, that ever had been made. 

"And they said the reason they made me a Lady 
Noble," said she, "was because I, too, had walked the 
burning sands." 

The ensuing laughter, in which Aimee joined, should 
be fair warning to Marie Dressier and Polly Moran. 

About "The Big Pond." Only the mesmeric skill of 
Chevalier and the benumbing beauty of Claudette Col- 
bert kept me from rising up in the middle of "The 
Big Pond" and wading for the nearest exit. What sur- 
prised me was that they didn't walk out of it muttering 
something in French. It is hard to believe that such 
an atrocity is not premeditated. Perhaps it was devised 
as a handicap to prove the invincible charm of Chev- 

56 



alier. But "Innocents of Paris" was bad enough to 
do that. 

I used to think Valentino ill-advised in battling with 
Paramount, but now I feel Chevalier also should have 
married Natacha Rambova. 

That Modern Gish. Electric sign gracing the N. Y. 
Rivoli Theater: FERENC MOLNAR'S 'THE SWAN.' 
THE STARTLING LOVE LIFE OF A VIRGIN PRIN- 
CESS—A MODERN GISH IN A MODERN STORY 

Startled, I stopped to re-read it. Another lover of 
the classics was likewise perusing. "Huh," was his 
observation, "I'll bet it's another one of those fakes 
like 'Unguarded Girls' that they advertise for men only. 
'Tain't hot at all." 

But what I resented about the sign was a MODERN 
Gish — as if referring to plumbing. 

Hollywood Contradictions. In "Handful of Cloud," Lew 
Ayres plays a baby-faced boy who murders six people. 
This is apropos of life of which Hollywood is the most 
glittering sample. The kindest, most charitable souls 
are such screen-tippling old wenches as Marie Dressier, 
such screen hounds of sin as Lew Cody. The most 
selfish, ruthlessly cruel individuals I know are the type 
that would be cast as Raphael's angels. 

An Actor's Home. The stanch admiration of the actor 
for himself is heroic in view of the ridicule it brings. 
In most homes the family photographs are secluded in 
the bedroom, but in a star's house the owner's likeness 
occupies all the wall space that is not taken up by 
mirrors, thus he never loses sight of the most important 
thing in life. 

"Ah, they're just like prize-fighters," says an old 
fight promoter, "All slug-nutty." 

Anent "Ingagi." Since the talkies were inaugurated, 
the animal actors of Hollywood have been staging a 
big come-back. Producers {Continued on z>&9v 125) 




La<s' nicht a' met tK' cfiameJ© 
TwijvS, ah' a.' vovld hae bovght one 
o\ them a. gfuid dinner- -if a' had 
ovy met Kef alone l ^ 

® 






o cfcaw'land, ^>^^^ 
an ihvst\ej ^ $ . : />~<^ 




4 



/ ■ 

/ An' wKa 
/ Bad hewc?? 



aifc ye, moh? 




S 



/• 




Ma iawme 
Hee/an' £ 

La^ie 



r 




Aye-tembv 9 ! 
V think o' tri oh'y 
at. fcairn takih' a 
Course i* tK* 

Literal Arts/ 



Or m 



Hat-r-ry 
Lai/der-rr-rrrr 



4 





Moovefc? 

+ R-ROEERT MACIEAN 



r S efp?nIf;mw I ?; r Emcon ,a H nd °' T"" u^, hea ' her "- r ' as the talkies Portray it. NEW MOVIE assumes no 
respon..b.l.ty for Elhson Hoover's Scotch jokes, however. This is one of Mr. Hoover's series of drawings showing 

how the talkies present the world at large. 



57 



See August Issue, 
Page 32 

Fields Station, Pa. 

What is the big 
idea in featuring 
practically unknown 
stars when we have 
Marie Dressier, a le- 
gitimate actress, who 
is the whole show in 
any picture they put 
her in? How do you 
feel about it? 

Rose Davidson. 

Doesn't Like 
Refilmed Stories 



DOLLAR 
THOUGHTS 

The New Movie Magazine Readers 
Express Their Opinions of Film Plays 
and Players — and This Monthly 



Covington, Ky. 

About the only 
fault I can find in the 
talkies is that the 

producers are giving us too many stories that have 
already been filmed. I am not interested in a plot I've 
already seen, even if it has a new star and a different 
title. 

Mrs. John Dickerson, 
1428 Russell Street. 

Something Will Be Done About It 

Birmingham, Ala. 

I used to read and depend on Frederick James Smith's 
movie criticisms in Liberty. Either he is very good or 
his picture taste closely parallels mine, because I 
usually thought a lot of his four star pictures. In 
The New Movie I still depend on them. But, I have 
one suggestion to make. I'd like some sort of rating 
marks beside the reviews to show at a glance which 
are best. I sometimes want to find a good show in a 
hurry. 

Luther Clark, 
1307 N. 33rd Street. 

Give Clara a Break 

New Castle, Ind. 

What is wrong with the chief executives of the 
motion-picture industry. Why don't they give our own 
Clara Bow a break? Why does she always have to 
play some crazy role as the sweetheart of the navy? 
I think she is one of the best actresses in pictures. 
Why, she hasn't even been given a chance to show her 
ability to act, so let's give the little girl a big hand. 

Mabel Hagerman, 
621 So. 11th Street. 

Accepts Herb Howe's Dare 

Cliftondale, Mass. 

In the sixth number of The New Movie, Herb Howe 
dared a fan to pick the handsomest men on the screen. 
I think John Boles is the handsomest man on the screen. 
Won't you please give us more about him. 

Winifred Lewis, 
12 Clifton Street. 

Another Scot Writes 



Minneapolis, Minn. 

I am Scotch, that's why I 
am writing on a half sheet 
of paper. The only time I'll 
ever ditch your magazine is 
when some bright fellow pub- 
lishes one just as good for five 
cents. 

David Harlan Newton, 
2815 W. 44th Street. 



him with applause. 



A Word for 
Walthall 

Selma, Alabama 

One must be an 
early bird to get a 
copy of The New 
Movie, for it sells 
like hot cakes. Re- 
plete with many in- 
teresting feature 
articles, the one most 
pleasing to us South- 
ern folk is the lovely 
and deserved tribute 
to our own Henry B. 
Walthall. He is still 
dear to the hearts of 
his countrymen and 
whenever his name 
appears on the bill- 
boards, we are there 
in full force to greet 
Walthall is one of our real actors. 
/. M. M., 
324 Lauderdale Street. 



THE NEW MOVIE MAGAZINE pays one 
dollar for every interesting and con- 
structive letter published. Address your 
communications to A-Dollar-for-Your- 
Thoughts ; THE NEW MOVIE MAGAZINE, 
55 Fifth Avenue, New York City. 



Doesn't Like Thin Gals 

Los Angeles, Calif. 

One thing I would like to have explained is why 
authorities say the screen makes an actress look fatter 
than she is. Take it from me, that is a lot of hooey. 
I am sick of looking at these pipe stems and soup bones. 
Let the girls eat. Clara Bow and her two chins in 
"The Saturday Night Kid" was the best I have ever 
seen and I am a Bow fan, but if they are going to starve 
her so she will look like the rest of them, oh, well, there 
are others. 

Mrs. Delia Johnson, 
887 E. 40th Street. 

Take Arlen Out of Westerns 

Auburn, N. Y. 

Why is Dick Arlen doomed to Westerns? I know 
they are to be one of the features of the next season 
but, along with eighty per cent of the feminine movie- 
goers, I can't get all enthused over Westerns. Dick 
has done so splendidly in the talkies, rushing from 
drama to comedy and back again, making each charac- 
terization a stepping-stone to greater glory, that it 
seems a shame to keep him in horse operas without a 
break. His popularity is liable to suffer, for already 
some of the fans are groaning 'not another Western?' 

Elizabeth J. Winter, 
13 Westlake Avenue. 

Do They Read Their Mail? 

Spokane, Wash. 

I have heard much of the conceit of the movie people 
and believed it mostly conversation, but now I have 
proof. I wrote a letter of the most critical kind to a 
very popular actor. He happens to be my favorite 
but nevertheless it was a very critical letter and did not 
disclose my appreciation in the smallest way. Then 
what do you think happened. I received a photograph 
and a letter of thanks for my appreciation and praise. 
What surprise ! Can you guess 
the name of the actor? — Well, 
it was Ronald Colman. Query — 
Who takes care of his fan mail? 
Alice B. Drew, 
E. 318 29th St. 



A Lot of Opinions 

Birmingham, Ala. 

Do you know that: Nancy 
{Continued on page 126) 



58 




Photograph by Kahle 



FIR DORSAY 



61 




Photograph by Hurrell 



ROBERT MONTGOMERY 



62 




Photograph by Apcrla 



RAMON NOVARRO 



63 




Photograph by Elmer Fryer 



BILLIE DOVE 



64 




Photograph by Elmer Fryer 



MARILYN MORGAN 



65 




The pajama vogue has swept the land this 
Summer. Above, Anita Page in modernistic 
print pajamas. This is a gay pattern designed 
by Adrian. A matching handkerchief is worn, 
gypsy fashion, about the head. Upper right, 
Raquel Torres demonstrating the use of stripes 
for pajamas. Stripes can be worn up and 
down or round about. These are of blending 
yellow, orange and brown. A matching ban- 
dana is worn with the outfit. 



PAJAMA 

BELLES 




Left, Bessie Love in her 
yellow printed pajama 
suit, worn with a yellow 
straw hat. Yellow san- 
dals carry out the color 
scheme. These pajamas 
have the flavor of early 
Autumn days. 




66 




Upper left, Gwen Lee in a patterned pajama ensemble. 
Here you see the combination of a pastel blue jumper 
and finger-tip length coat piped in the printed mate- 
rial of the wide-bottomed pajamas. This costume fits 
any occasion for casual comfort. Upper right, Dorothy 
Sebastian demonstrating the value of polka dots for 
the pajama ensemble. 



Right, another glimpse of 
Raquel Torres and her 
striped trouser pajamas. 
Stripes are all the thing 
this summer for pajamas, 
by the way. 




67 



How to Have Your 




Russell Ball's favorite portrait of Gloria Swanson. An example of 

harmonious photography. Also an example of complete naturalness. 

Note the mouth just a trifle open — and the effect gained by it. 



BY 
RUSSELL BALL 

Famous Hollywood 
Photographer 



But, to the average man and woman, 
boy and girl, they are joys and pleasant 
possessions. As the young girl grows up, 
marries and moves to a distant city; as 
the boy goes through college and starts 
upon his own career; as mother grows 
older; as fate places many miles between 
dear friends, photographs mean some- 
thing precious indeed. In love affairs, 
they have played innumerable parts, dra- 
matic, pathetic, tragic and comic. 

Consequently, everyone wants to know 
how to obtain the best results when being 
photographed. 

After over fifteen years as a photog- 
rapher in New York and Hollywood, dur- 
ing which time I have photographed 
nearly all the great stars and famous 
beauties of stage and screen, I have 
naturally picked up some pointers and 
developed some definite ideas on how to 
have your photograph taken. I am glad 
to have the chance to pass them on. 

There are, let me say immediately, no 
definite rules whereby every woman can 
produce a photograph as beautiful as 
Corinne Griffith. Which leads us to at 
least two of the most general errors 
made by those who go to be photographed, 

ABOVE all things, do not try to look 
like somebody else. 



P 



HOTOGRAPHS play a large part in everyone's 
life. They are jewels of memory, consolation in 
separation, reminder of love and friendship. 
In the motion 



picture industry and 
the theater, they repre- 
sent business. 



Left adjoining, Jane 
Winton. Right adjoining, 
Irene Delroy. Miss 
Winton, who hasn't a 
heavy jaw or neck, dem- 
onstrates the correct pose 
for one who possesses 
either. Miss Delroy, who 
has an extremely re- 
trousse nose, shows the 
correct way to pose, 
head on. 



68 




Everyone desires 
to look their best. But nothing is so 
fatal to the final result as unnaturalness. 
The difficulty about trying to look your 
best is that unless you know just how to 
do this, often you will not look like yourself. 

Please remember that your family and your friends 
want a photograph of YOU. They want an attractive 

picture, but it must be 
YOU. 

The aim of every good 
photographer is to make 
an attractive photograph 
which looks as much as 
possible like the original. 
To take a beautiful pic- 
ture without any resem- 
blance to the subject, is 
to fail in half the mis- 
sion. I have had proofs 
in sittings of motion pic- 
ture stars turned back to 
me, because while they 
were gorgeous photog- 
raphy they wouldn't do 
the star any good — they 
didn't look like her. I 
have learned to correct 
that error. 

Since naturalness, 
looking natural and 
like yourself, are so 



Photograph Made 



Hollywood Camera 
Expert Tells You 
How to Bring Out 
Your Best Points in 
Your Next Portrait 



important, it is always a mistake to go 
to the hairdresser the very morning of 
your appointment. The hair is always 
stiff, and can't give a pretty effect. It is 
a mistake to wear a dress you have never 
worn before. Those things tend to make 
a person self-conscious. 

THE most successful photographs are 
those which suggest the person photo- 
graphed in the costume, atmosphere, 
background and general position which 
those who love them like best. 

Let us say that you are going next 
week to have your photograph taken. It 
is, of course, a special occasion. That 
picture is going to your sweetheart who 
is away, to your mother in a distant city, 
to a newspaper for reproduction in a 
social event, to your dearest friends. 
(This part now is written for girls and 
women. Men we will mention later on. 
They are always much easier to photo- 
graph than women.) 

First of all, sit down and do a little 
serious thinking. Do this long before you 
enter the studio and sit down before the 
camera. Having determined your ob- 
jective — that you want a picture of 
YOU, bringing out all your best points, and concealing 
all your bad ones, ask yourself certain questions. 

1. What is my type? 

Now everyone cannot be a 
distinct type, like Dolores 
Del Rio, Alice White, or Eve- 
lyn Brent. But every girl 
and woman belongs under 
some type heading. 

The knowledge of that 
type is intensely important 
to you in going to sit before 
the camera. 

Are you the clean cut ath- 
letic type? Are you the soft, 
purely feminine type? Are 
you stately? Are you the 
petite, dainty type? Are 
you the flapper? 




Guess who this is. Phyllis Haver ! This demonstrates what expert hair 
dressing will do to soften the face of a photographic subject. 



their type you most nearly approximate, and then 
follow it. 

This will instruct you what clothes you should wear. 



WHEN YOU GO TO YOUR 
PHOTOGRAPHER— 



l-JERE, without attempt- 
L *■ ing imitation, a study 
of the wonderful pictures of 
motion picture stars pub- 
lished continually in New 
Movie Magazine should help 
you. Make up your mind 
which of these stars and 



Do not try to look like somebody else. 

Do not go to the hairdresser within two 
days of your visit. 

Don't make the mistake of putting on 
your "best dress." 

Be guarded in wearing jewels. Beware 
of earrings. 

Be careful of your thoughts while the 
camera lens is watching you. 

Use very little make-up. 

Don't get set or still. Relax. 



For you must wear the 
clothes in which you look 
best. A few women look 
well in everything: but even 
those fortunate beings have 
a best and worst. Doris Ken- 
yon, for example, who is one 
of the really beautiful 
women of this age, is dis- 
tinctly at her best in evening 
clothes. But there are many 
girls who look their worst in 
them. It is my opinion that 
Clara Bow looks better in 
anything than in formal eve- 
ning attire. 

There are dozens of girls 
who always look their best 
in sport clothes. One of the 
finest photographs I have 
ever seen was of Helen Wills, 
the tennis champion, taken, 
I think, by Steichen. In that 
picture, Miss Wills wears a 
severely simple white sport 

69 



PHOTOGRAPHIC SECRETS OF THE MOVIE STARS TO 




Doris Kenyon in a perfect photographic illustration of the right back- 
ground for her lovely personality. Note, too, the slightly opened 
mouth which adds charm to her portrait. 



dress and sweater. The type suits her. One 
seldom sees her photographed in evening 
clothes. 

Don't make the mistake of putting on your 
"best dress." Try to remember what you 
have worn which has brought forth the most 
compliments from your friends. Try to re- 
member something in which your husband or 
sweetheart told you you looked very pretty. If 
possible, wear something in which you are at 
ease, something you have become accus- 
tomed to. 

Unless you are a very unusual type, be ex- 
tremely careful of jewels in photographs, par- 
ticularly earrings. There isn't one woman in 
ten whose features won't be marred by their 
use. 

2. What is your best background? 

Of course, if you are fortunate enough to 
be going to one of the great photographic 
artists— a Steichen or a Nicholas Muray — 
then that will be decided for you. But few 
photographers know their subject well enough 
on one meeting to determine that. So you 
must figure it out somewhat for yourself. I 
don't mean, of course, that you must select 
every detail. But the general effect must be 
decided by you. 

DO YOU notice how seldom you see a pic- 
ture of Gloria Swanson, one of the great- 
est photographic subjects who ever lived, with 
anything in it which detracts from Gloria 
herself? The unusual lines of her face, the 
startling effect of her pronounced and definite 
features, prohibit the use of decorative 
aids. 

On the other hand, Mary Pickford, who is 
called by all cameramen the one camera-per- 
fect face in the business, lends herself well 
to vases of flowers, silken pillows, candles, 
brocades, etc., for composition. 

Doris Kenyon, who is the softly feminine 
type, is at her best with evening dress, and a 
rich, soft background. 

Evelyn Brent, on the other hand, is so strong 
and definite in her type — still feminine but 
suggesting fire and passion — that she looks 
better if her head is thrown up in plain relief. 

Accompanying this article is a picture of 
Doris Kenyon. There, the right background, 



From left to right 
adjoining: James 
Gleason, Warner 
Baxter and Anthony 
Bushell. Mr. Gleason 
discloses the ideal 
pose for a business 
man or lawyer. Note 
the value of the slight 
frown. Mr. Baxter 
shows how the posses- 
sor of dark eyes gains 
when direct lighting 
brings out the gleam 
ofhiseyes. Mr.Bushell, 
on the other hand, is 
an example of a 
possessor of light blue 
eyes who should never 
look directly at the 
camera lens. 





70 



HELP YOU WHEN YOU HAVE YOUR PORTRAIT MADE 



the right costume, have been selected 
to bring out all her loveliness. Beware 
of inharmonious backgrounds. 

You must decide whether severity and 
plainness, or soft pictorial effects fit you 
most tastefully. Often women who might 
be called plain, or even ugly, can stand 
a sort of violent, modernistic back- 
ground. They cannot achieve a beautiful 
effect, but they may achieve a fascinat- 
ing and distinctive one. 

3. What are you going to be thinking 
about while the all-seeing eye is upon 
you? 

That, please believe me, is not bunk. 
To me, it is actually the most important 
of all. I have thrown away thirty 
negatives of a beautiful screen star 
because the light behind the eyes was 
wrong. 

Nothing, not your clothes, not your 
background, not your features, are so 
important as your expression. A poet 
called the eyes "the windows of the 
soul." My experience has taught me to 
believe that absolutely. And the camera 
sees through photographs into those 
windows. I do not care how beautiful 
a woman is, unless there is a light in her 
eyes, the picture will be without life, 
without charm. 

As a star on the set used to have cer- 
tain music played, so you should have 
certain thoughts which bring you a pleas- 
ant, or a happy, or an emotional reac- 
tion. Perhaps some poem you have read. 
Perhaps some memory — some person — 
coming into your thoughts will give your 
eyes that light. There may be some 
dream that you often dream with your 
eyes open — or something that you would 
like to have happen. 

This will also make you lose your 
consciousness of having your picture 
taken. 

4. What are your best and your worst 
features ? 

Many women believe that make-up is 
a great help before the camera. That 
is not always true. Unless you know exactly how 
to handle it, make-up will often be a boomerang. Too 
much lipstick will look ugly. 
It is possible to use some. 
No rouge should ever be 
used on the cheeks. It pho- 
tographs black and makes 
shadows, which give a hag- 
gard effect. A base of 
cream, or plain grease paint 
which can be bought in any 
drug store, a coat of powder, 
some lipstick. Then, a bit of 
mascara — not much — and if 
your eyes are short, a soft 
dark line at the ends of 
them. A very little darken- 
ing of the upper eyelid, 
which can be done by rub- 
bing your finger on a soft 
lead pencil and then applying 
it to the eyes. 

On page 68 you see my 

Evelyn Brent has a strong and 

virile face. She is the type 

that photographs best with 

mouth completely closed. 




%«v / 







Erf 4 J Ik-. 











A striking 
arrested m 



study of Estelle Taylor. This is an excellent example of 
otion. Miss Taylor has one of those rare faces, dark and 
definite, that gain by the wearing of earrings. 



favorite portrait of Gloria Swanson. I ask you to study 
it. Note the slightly open, not-quite-smiling mouth. 

With this, the sheen of pearls 
and draped chiffon, the curv- 
ing line of the hat, which is 
decorative but not overpow- 
ering. The plain background. 
The relaxed hand. The com- 
plete naturalness. And note 
the softly waved hair. To my 
notion, she wears afternoon 
clothes better than any wo- 
man on the screen and is at 
her best in tliem. And they 
are essentially difficult. 
Everything in this picture 
blends. 

A last word or two. 

Please be careful about 
your hair. Have it done at 
least two days ahead of 
time, so that it will fall na- 
turally and not have that 
awful artificial look. Unless 
you belong to the rare type 
of Dolores Del Rio, have 
your hair soft, flattering. 
It will give you a great deal. 

{Continued on page 129) 

71 





CLAIRE 
LUCE 



Photograph by Hal Phyfe 

The glamorous Claire Luce, former Ziegfeld dancing star, is coming to pictures, 

via the Fox Studios. Miss Luce went to London, became a dramatic actress in 

"Burlesque" — and came back to try her luck on the screen. 



72 




Photograph by Hurrell 



UKULELE ^""^ Edwards, known to fame via. phonograph records and talkies as Ukulele 

Ike, paused between scenes at the Metro-Goldwyn-Mayer studios to strum a 
IKE plaintive melody. 



73 



HOW HOLLYWOOD 
ENTERTAINS 

Outdoor Entertaining Becomes the Vogue Among Studio Folk and 
the Mervyn LeRoys Give a Charming Sunset Beach Party 

By EVELYN GRAY 

Special Photographs by Stagg 



OUTDOOR entertaining is growing more and 
more popular everywhere. As people enter into 
the pleasure of sports with increasing ardor, 
all sorts of outdoor life gains its hold. And there 
is really nothing more charming than luncheon, tea or 
dinner served outdoors when the weather permits. 
The long evenings of early Fall and Indian Summer 



are particularly suited to this form of entertainment. In 
Hollywood everyone is doing it, utilizing their tiny gar- 
dens or their big estates, their beachfront yards of sand, 
their small porches, to get outdoors in the fresh air. 



M 




HjKS 





i 




\ 


1 




!*•'• 


























"i ^Sh 






■8bL 




■ 




^^sSBi 


^ ,y\ 







R. and Mrs. Mervyn LeRoy (Edna Murphy) own 
a charming little beach home at Malibu and they, 
are among the many couples who en- 
tertain outdoors informally on Sun- 
day evenings. It is really a charming 
custom for anyone to inaugurate. You 
can prepare, as Mrs. LeRoy does, for 
an indefinite number of guests by hav- 
ing a buffet supper and give your in- 
timate friends one of those open in- 
vitations that are so pleasant. 

Merv and his pretty blond wife 
are very popular and entertain with 
easy informality. Merv is the young- 
est director in motion pictures. 

The card tables — what would the 
modern hostess do without the ever- 
present card tables — at the LeRoys, 
are set both on the tile terrace which 
runs along one side of their front 
yard and on the pretty open veranda. 
They are very attractively arranged, 
with luncheon sets in bright-colored 
linens and Edna's wedding silver, with 
bowls of gay flowers in the center. 

After a late swim, the guests all 
helped themselves from the long table 
in the dining-room and came out to 
eat in the mellow twilight and watch 
the beautiful sunset. One feature of 
this informal outdoor entertaining is 
that guests can arrive in informal at- 
tire. After all, who wants to dress 
up after a pleasant day spent in the 
open? 



TACK DEMPSEY and his wife, Es- 
«J telle Taylor, were among the 
guests. Estelle was all in white 
linen, with a white-linen coat and a 
little white beret. Two costumes that 
made a great hit were worn by 
Vivienne Segal, the Warner Brothers' 
musical-comedy star, and Kathleen 
Martin, former 

Vivienne Segal, pho- 
tographed at the Le 
Roy party. Miss Se- 
gal's costume attract- 
ed a lot of attention. 
It was of bright green 
jersey, bathing suit 
top and long pants. 



ly of the Follies 
and now in pic- 
tures. 

Vivienne's 
was of bright 
green jersey, 
with a bathing- 
suit top and 
long sailor 



74 




The LeRoy beach party, showing some of the table arrangements. A beach baseball game is in progress in the 

background. Leaning against the wall is Jack Dempsey, with Mrs. LeRoy (Edna Murphy) on his right and Mervyn's 

mother, Mrs. LeRoy, on his left. Other guests are grouped about. 



pants. And Kathleen had the most 
fetching combination of blue and 
white with linen shorts, a white 
linen blouse, and a blue and white 
coat lined with white toweling. 
Just the thing for a day at the 
beach. With it she wore woolen 
socks and white sport shoes. 

Their escorts were William 
Boyd and Walter Catlett. 

\/[R- and Mrs. Alan Dwan 
11 dropped in. Mrs. Dwan, who 
is really becoming famous for her 
gorgeous pajamas, wore pajamas 
in three shades of green, made of 
figured Chinese silk. Kathryn 
Crawford was in linen pajamas of 
bright orange, with a dark-blue 
coat. Marilyn Miller, who came 
with them, wore dark-blue jersey, 
with long trousers and no back, 
all piped very effectively in white. 
Mr. and Mrs. Leonard (Ger- 
trude Olmstead) came in, and Mrs. 
Leonard had a sports dress of 
yellow and white, the rather short 

Kathleen Martin, at the LeRoy 
party. Miss Martin wore a 
fetching combination of blue 
and white, with linen shorts, 
a white linen blouse, and a 
blue and white coat lined 
with white toweling. An ideal 
beach costume. 




skirt worn over bloomers that 
matched. Lois Moran had slipped 
white sailor pants and a white 
woolly sweater over her bathing 
suit. Carey Wilson and Carmelita 
Geraghty were among the guests, 
Carmelita in dark-green sport 
clothes. Charles Farrell brought 
Virginia Valli, who looked per- 
pectly beautiful in a white-duck 
yachting costume. 

In entertaining outdoors a 
hostess finds it necessary to pro- 
vide a fairly hearty meal, because 
everyone is usually hungry. Mrs. 
LeRoy manages a nice variety. 

A TRAY of cocktail glasses, in 
^*- pale-green glass, was set at 
one end of the table and filled 
with watermelon cup. This was 
made by cutting out small balls 
from the heart of watermelons, 
pouring a little grenadine syrup 
over them, adding a few drops of 
lemon and some sprigs of mint. 

Then, on a huge platter, were a 
number of big, baked sea bass. 
Over these was poured a "Sauce 
LeRoy," so called because Edna 
invented it herself to suit Merv's 
taste. The recipe is as follows: 
To one cup of mayonnaise, add 
four or six chopped stuffed olives ; 
four chopped sweet pickles; pars- 
ley; one clove of garlic chopped 
(Continued on page 131) 



75 




Miss Collyer's dressing 
table (shown below) is of 
French antique ivory. Per- 
fume bottles of many colors 
and design are the table's 
only equipment. There is, 
of course, a lovely scarf of 
orchid brocade. 



The boudoir of June Collyer shows a dainty 
Louis XV bed, canopied and covered with 
orchid taffeta, with ecru lace edging to the 
minute ruffles. The headboard of the bed 
is of antique ivory, decorated with delicate 
garlands of rosebuds. Matching night 
tables, with twin lamps of Dresden china 
base and yellow and blue silk shades, are 
placed on either side of the bed. The walls 
of the bedroom have panels of striped satin 
brocade of deep mulberry. 



Special photographs by 
Gene Robert Richee 



76 



Below, Miss Collyer is 
standing by one of the 
windows of her boudoir. 
The windows are treated 
in the typical French 
manner. Window cur- 
tains of hand drawn and 
embroidered net, and 
drapes of orchid ruffled 
taffeta are used. The 
woodwork is of a warm 
tone of beige. 





A marble mantelpiece (shown above) forms one of the in- 
teresting corners of Miss Collyer's boudoir. The entire room 
is done in Venetian and Louis XV period. Before the fire- 
place a rare piece of petit point creates a dainty screen. An 
old French clock, with branch candlesticks to match, embel- 
lishes the mantelpiece. A mural, depicting a French garden 
scene worked in soft pastel tones, is above the fireplace. A 
beige fur rug is thrown over the mulberry carpeting. A small 
marble-top table is placed at the right of the mantel and an 
ivory and gold French chair, upholstered in flowered blue 
satin, graces the left. 



MOVIE 

BOUDOIRS 



V. JUNE COLLYER 



77 





Photograph by Elmer Fryer 



At five Lib Lee was a vaudeville favarite. At thirteen she was a motion pidup star At fourteen he 
was a colossal Hollywood failure. At fifteen she had staged a new start in Jlmr-ond was "Mmipgtor 
own way in life. At eighteen she married Jim Kirkwood. These are the high po.nts of her early career 
Toda? Mi s Lee is bein| starred by First National. At twenty-five she is a camera veteran with a baek- 
g^nd of varied stage experience. Her life story, crowded with extraordinary ups and downs, ,s a 

strange and dramatic one. 



78 



Th 



Drama 

of 

LI LA 
LEE 



By EVELYN GRAY 



DURING the past two months New 
Movie has presented the first two 
acts of Lila Lee's dramatic life story. 
Although she is but twenty-five, Miss 
Lee has been before the public — in 
vaudeville and in pictures— for twenty 
years. 

Charles Appell and his wife, Au- 
gusta, came to America from southern 
Germany in 1904. In July, 1905, a 
daughter, Augusta, ivas born to them. 
When Appell was conducting a hostelry 
in Union Hill, N. J., in 1910, little 
Augusta caught the eye of Gus Ed- 
wards, then a producer of variety acts. 
Edwards signed little Augusta for his 
act, "School Days," and changed her 
name to Cuddles. For six years Cuddles starred in the 
act. 

In 1918 Jesse Lasky signed Cuddles for screen star- 
dom with the Famous Players-Lasky. Her name was 
changed to Lila Lee. The new star — just fourteen — 
failed. But Lila bravely started all over again. Thanks 
to the kindness of Cecil De Mille, Wallie Reid and 
Tommy Meighan, she was given new opportunities. 
And she made good. 

ACT III 

T IFE has rushed Lila Lee forward at a terrific pace. 
-*-' In her brief twenty-five years she has lived 
through most of the experiences that can come to a 
woman. 

At five she was on the stage and at ten she was the 
idol of vaudeville audiences everywhere. 

At thirteen she was a motion-picture star. 

At fourteen she knew the bitter taste of failure and 
the necessity to come back. 

When she was fifteen she was entirely self-sup- 
porting. 

On her eighteenth birthday she was married to James 
Kirkwood, who was then forty. 

In some ways all this had done enviable things for 
her. While she still has youth, in beauty and enthusi- 
asm, she has the experience of a much older woman, the 




Richard Barthelmess gave Lila Lee her real opportunity for a come-back 

in "Drag." The part carried Miss Lee to a new success, proving that she 

possesses one of the rare speaking voices of Hollywood. 



mental breadth and poise which usually come only as a 
not-too-welcome substitute for youth. 

At the same time the mistakes she has made in her 
life have been the result of that same youthfulness. 
Emotional and psychological problems, the complicated 
difficulties of a public career, the responsibility of de- 
cisions regarding money and contracts, all were shoved 
at her in rapid-fire order. 

UER nature is naturaljy impulsive. Only in the last 
A ■*■ year has Lila Lee reached the point where reason 
and cool thinking control her actions, instead of emo- 
tions and feelings. Even now it is always a struggle 
with herself to choose the path of self -protection and to 
look ahead to estimate the results of her actions. 

Of course, eighteen is not remarkably young for mar- 
riage. Often youthful marriages are the best. Had 
Lila's marriage been an ordinary one with a man of her 
own age, had it followed normal, ordinary lines, it 
would not have been too young for her. But, from the 
very first, it was hectic and filled with complications. 

On July 25, 1923, she and Jim Kirkwood were mar- 
ried. 

Two days later he was forced to leave for location 
alone. 

The bride found herself alone, facing the panic which 
frequently visits very young girls when they find they 
have committed themselves "until death us do part." 

79 



Nor did she find 
any sympathy or 
en cour agement 
around her. Her 
mother still saw 
nothing but disas- 
ter in this union. 
Friends could 
hardly conceal — 
some made no at- 
tempt to conceal — 
the fact that they 
believed she had 
made a mistake. 
Everyone adored 
Jim Kirkwood. But 
they simply could 
not see Lila and 
Jim together. 

She had three 
long, lonely weeks 
of pondering her 
marriage, her love 
for Jim, her ca- 
reer. That time 
is a sort of cross- 
roads to every 
woman. But with 
L i 1 a it presented 
many phases which 
other women do 
not know. 




Photograph by International Newsreel 

Jim and Lila, with their baby, James, Junior. This picture was made in 
1924, a few days after the birth of James, Junior, and long before the 
unrelenting tide of life had swept Jim Kirkwood and his bride apart. 



T^HE prediction 
•*• made by Min- 
nie years before, "Some day they'll be glad to offer you 
another chance to star," had come true. Four years 
after her prize flop as a synthetic star, Famous Players- 
Lasky had again decided to put the name of Lila Lee in 
electric lights. In those four years Lila had builded 
better than she knew. Though it had often seemed to 
her that she was lost in the shuffle, though she grew 
discouraged and discontented with the long succession 
of minor roles, she had gone on honestly and doggedly, 
giving her very best in every scene, offering her per- 
sonality at its height in every part big and little. 

As Wally Reid's leading lady, as Tommy Meighan's, 
she had gained an enormous following. A solid popu- 
larity. Her fan mail, barometer of public sentiment, 
had reached star proportions. 

In those four years she had improved in every way. 
The lanky, gangling youngster, whom Wally Reid had 
rescued from the studio backwaters, had filled out into 
lovely womanhood. Cuddles' every promise of beauty 
had been fulfilled. 

Also she had grown in magnetism and charm, 
through contact with interesting people, through 
friendships with Jack Gilbert, Charlie Chaplin, Bebe 
Daniels, and many others. Working under such direc- 
tors as Cecil and William De Mille, James Cruze, Sam 
Wood, she had learned much about acting. It is one of 
her most notable characteristics that she was and is 
always eager to learn. , 

She was ripe for those things of which she had 
dreamed, those things which Lillian Edwards had pre- 
dicted for her years before. 

'"pHE Famous Players-Lasky contract meant much to 
•*■ her. In the first place, it was her laurel wreath, her 
justification. On that lot she had staged her great fail- 
ure. On that same lot she had worked her way back, 
this time to a stardom based not upon a mere childish 
personality but upon ability and hard work-. 

She had been ready to sign. To know that once more 
the twenty-four sheets would announce, "Famous Play- 
ers-Lasky present Miss Lila Lee." It meant success 
assured, personal triumph, money, opportunity. 

But James Kirkwood, her husband, didn't want her to 
sign that contract. 

There were many things to be said on Jim's side. 

In the first place, he believed he could offer her some- 



thing just as good. 
Thomas H. Ince, in 
those days one of 
the great produc- 
ers, was going to 
star Jim. He was 
willing to co-star 
James Kirkwood 
and Lila Lee. And 
Jim thought that 
an ideal arrange- 
ment, personally 
and professionally. 
Jim knew his 
Hollywood. He had 
seen many Holly- 
wood marriages go 
on the rocks, and 
he since'rely be- 
lieved that work- 
ing apart was one 
of the chief con- 
tributing causes. 
He wanted Lila 
with him. He 
couldn't face the 
thought of long 
separations forced 
upon husbands and 
wives who work 
for different or- 
ganizations. One 
might go on loca- 
tion for months 
when the other 
had to stay and work in a Hollywood studio. One might 
be making pictures in New York while the other stayed 
on the West Coast. The husband might be working 
nights for weeks while the wife worked in the daytime 
— and they could be together only a few moments be- 
tween rushing to the studio. 

To Jim their marriage was the all-important thing. 
He believed it must come first and the careers be fitted 
into it. 

Perhaps he was right. Anyway, he sold Lila the idea 
and she refused the offer made her by her company. 
But she likes to remember that it was made, that she 
achieved her fourteen-year-old ambition and determina- 
tion to come back. 

At the end of those three weeks on location, Jim Kirk- 
wood came home to his bride. All her troubles, all her 
doubts vanished. She was able to see herself as his 
wife and not just as Lila Lee. 

The afternoon after his return Lila went out with 
him to the riding academy to watch him try out a new 
horse. She sat happily on a rail fence, swinging her 
tarn in one hand and whistling a little tune out of sheer 
good spirits at seeing Jim master the high strung 
young animal he was riding. 

Suddenly there was a shout, a swift picture of a 
horse rearing, a saddle turning dangerously, and Jim 
and the horse went down in a tangle. Lila and the 
groom reached them at the same time. The man lay 
very still on the ground. His face was marble white, 
but a tiny trickle of blood came from his lips. His head 
fell limp against her shoulder. 

While the groom rushed for a doctor and an ambu- 
lance, Lila knelt there, calling to her husband, kissing 
him, begging him to answer her. When he did not, she 
believed that he was dead. 

T^OR weeks he hovered between life and death. His 
" skull was fractured and there was a concussion of the 
brain. Followed days of consultation and anxiety. 
Nights of fear and watching. The young wife, silent, 
dazed by the shock, never left his bedside. She could 
not eat and slept only from exhaustion, her head drop- 
ping on the coverlet. 

At the end of six weeks he spoke, recognized his wife. 
In two months he was out of danger. From that time 
on he began to mend, but for (Continued on page 115) 



80 





DOROTHY JORDAN 



Thotograph by Hurrrll 



81 




Photograph by Hurrell 



HARRIET LAKE 



82 



REVIENA/S* By Frederick James Smith 



HOLIDAY— Pathe 

Directed by Edward H. 
Griffith. The cast: Linda, Ann 
Harding; Julia, Mary Astor; 
Nick Potter, Edward Everett 
Hoi-ton; Johnny Case, Robert 
Ames; Susan Potter, Hedda 
Hopper; Ned, Monroe Owsley; 
Edward Seton, William Holden ; 
Laura, Elizabeth Forrester; 
Mary Jessup, Mabel Forrest; 
Pete Hedges, Creighton Hale; 
Seton Cram, Hallam Cooley. 



SAFETY IN NUMBERS 
Paramount 

Directed by Victor Schei't- 
zinger. The cast: William 
Butler Reynolds, Charles 
(Buddy) Rogers; Jacqueline, 
Kathryn Crawford ; Maxine, 
Josephine Dunn ; Pauline, Carole 
Lombard; Cleo Careive, Geneva 
Mitchell; Bertram Shapiro, Ros- 
coe Earns; Phil Kempton, 
Francis McDonald; Alma Mc- 
Gregor, Virginia Bruce; F Car- 
stair Reynolds, Richard Tucker; 
Jules, Raoul Paoli; Commodore 
Brinker, Lawrence Grant. 

RAFFLES— United Artists 

Directed by Harry D'Arrast. 
The cast: Raffles, Ronald Col- 
man; Lady Given, Kay Francis; 
Detective McKenzie, David 
Torrence; Lord Melrose, Fred 
Kerr; Lady Melrose, Alison 
Skipworth; Bunny, Bramwell 
Fletcher; Raffles' Valet, Wilson 
Benge; Crawshaw, John Rogers. 



THE BIG HOUSE— M-G-M 

Directed by George Hill. The 
cast: Morgan, Chester Morris; 
Butch, Wallace Beery; Warden, 
Lewis Stone; Kent, Robert 
Montgomery; Anne, Leila 
Hyams; Pop, George F. Marion; 
Mr. Marlowe, J. C. Nugent; 
Olsen, Karl Dane; Wallace, De- 
witt Jennings; Gopher, Mathew 
Betz; Mrs. Marlowe, Claire Mc- 
Dowell; Donlin, Robert Emet 
O'Connor; Uncle Jed, Tom Ken- 
nedy; Sandy, Tom Wilson; 
Dopey, Eddie Foyer. 

CAUGHT SHORT— M-G-M 

Directed by Charles F. 
Reisner. The cast: Marie Jones, 
Marie Dressier; Polly Smith, 
Polly Moran; Genevieve Jones, 
Anita Page; William Smith, 
Charles Morton; Frankie, 
Thomas Conlin; Johnny, Doug- 
las Haig; Priscilla, Nanci Price; 
Sophy, Greta Mann ; Mr. Frisby, 
Herbert Prior; Mr. Kidd, T. 
Roy Barnes; Mr. Thutt, Edward 
Dillon; Miss Ambrose, Alice 
Moe; Manicurist, Gwen Lee; 
Peddler, Lee Kohlmar, Fanny 
Lee, Greta Granstedt. 



This was an admirable story — this play by Philip 
Barry — and it comes through the movie mill un- 
scathed. To me it is the best film of the month. Here is 
presented the clash between an engaging young 
dreamer and a wealthy Park Avenue family. The 
young man fancies he loves the youngest daughter 
when it is the older sister alone who can make him 
happy. This drama is beautifully acted. Ann Hard- 
ing is superb as the unselfish, whimsical, rebellious 
Linda, while Monroe Owsley gives a fine performance 
as her dissolute brother, and Mary Astor is excellent 
as the luxury-loving younger sister Julia. Edward 
Griffith's direction is admirable. 

Best — Ann Harding 

The best Buddy Rogers film in a long time. And 
one with a piquant comedy idea : a handsome heir to 
a fortune is placed in the care of three beautiful 
Follies girls (by a discerning uncle) in order that he 
may avoid the pitfalls of New York. The girls start 
out as guardians but they fall for their protegee. 
After they rescue him from a vampirish siren, they 
discover that he really loves one of them. The best 
moment comes when Buddy wakes up in the boudoir 
of the trio. Buddy advances steadily and gives a di- 
verting comedy performance. Charming Kathryn 
Crawford, however, steals the comedy honors. The 
other guardians are Carole Lombard and Josephine 
Dunn. 

Best — Kathryn Crawford 

If you loved to follow the adventures of that deb- 
onair young cricketer, Raffles, who lived quite another 
life by night, you will want to see Ronald Colman in 
this new talkie version. Perhaps you belong to the 
generation that admired the handsome Kyrle Bellew's 
stage visualization of Raffles. You won't be disap- 
pointed. And, even if E. W. Hornung's amateur 
cracksman is new to you, you will be absorbed by this 
superbly suspenseful thriller. This retelling of how 
Raffles outwits Scotland Yard is given a splendid stag- 
ing. Colman is delightful. So, too, is Kay Francis 
as the girl of Raffles' heart and David Torrence as 
McKenzie, of Scotland Yard. 

Best — Ronald Colman 

This is a corking melodrama. Had it dared to be 
completely uncompromising and honest, it would have 
been an unforgettable drama. It starts out to pillory 
our penal system of piling convicts into obsolete 
prisons and then forgetting them. It shows how, out 
of the brutality, the loneliness, the terror of it all 
grows a great sweeping prison riot, bloody and futile. 
It is in presenting this raging hell of pent-up hatred 
that the film touches the heights of excitement. Un- 
fortunately, this grim realism is mingled with a sac- 
charine and unbelievable love story. Wallace Beery is 
swell as a big, playful killer, known as Butch. Here's 
a scoundrel you'll love. 

Best — Wallace Beery 

A low comedy natural. Two wrangling, rival board- 
ing house keepers quarrel their way hilariously 
through this tale. One has a handsome son, the other 
a pretty daughter. The two fall in love, following in 
the footsteps of youth from Romeo and Juliet to Abie's 
Irish Rose. Thus the friendly enemies have to swal- 
low their bickering. This comedy is greeted with tre- 
mendous laughter, thanks to Marie Dressier and her 
pal, Polly Moran. All this is broad slapstick, but Miss 
Dressler's elephantine indignation is something more. 
This is a safe comedy for the whole family. If Miss 
Dressier doesn't get 'em, nobody will. And Miss Moran 
lends no mean aid. 

Best — Marie Dressier 


























l» WKh IPte* 


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83 



ALL YOU WANT TO KNOW 








Lon Chaney speaks ! Now Charlie Chaplin alone 
stands voiceless outside the gate. Of course, you remem- 
ber that classic of 1925 ; the ruthless tale of three side- 
show scoundrels, Echo, the ventriloquist, Hercules, the 
sinister giant, and the wicked little Midget, with their 
pet gorilla. The trio get hold of a pet-shop and Echo, 
posing as an old woman, palms off silent parrots upon 
unsuspecting patrons by resorting to ventriloquism. 
Delivery of the birds gives an opportunity to look 
over wealthy homes. Chaney produces five voices. 
Somehow, the superb suspense of the old silent ver- 
sion is missing. Still, "The Unholy Three" is one 
story in a hundred — and Chaney is matchless. 
Best — Lon Chaney 

"Our Dancing Daughters" was succeeded by "Our 
Modern Maidens." Now "Our Modern Maidens," in 
turn, is followed by "Our Blushing Brides." In each 
a trio of modern girls has been played by Joan Craw- 
ford, Anita Page and Dorothy Sebastian. The newest 
carries on the adventures of three department store 
beauties, one a model. Miss Crawford is the model 
and her histrionics are tempered with gorgeous un- 
dress. Tragedy follows the girls as wealthy fellows 
try to win them, one way or another. All this is 
lively, a little daring and quite entertaining. Miss 
Crawford is at her best as Geraldine and Miss Page 
is better than she has been in a year of pictures. 

Best — Joan Crawford 

A good comedy title — and not much else. The 
story is hard to classify. It starts out as a burlesque 
of "The Shooting of Dan McGrew" type of heroics and 
then just wanders around. The yarn, such as it is, 
revolves about Dangerous Nan and old Doc Foster, 
who operate a bankrupt medicine show. Don't ask 
us to recount the rest of the complications. The 
laughs are few. Helen Kane boop-a-doops her way 
through the role and several songs. Victor Moore 
does all he can with the role of the nostrum specialist. 
This strange comedy is guaranteed to leave any audi- 
ence puzzled. 
Best — Helen Kane 

Paul Muni originally was scheduled to play the 
gangster of Don Clarke's popular "Louis Beretti," but 
Edmund Lowe somehow or other inherited the role. 
The hero is one of those sentimentalized gunmen 
with a heart of gold for his mother and for his pals. 
He avenges the murder of his sister's husband and 
recovers the kidnaped child of his buddy's sister. 
A large portion of the early story is given over to 
Louis' adventures in the World War. In the end, 
Louis falls before a gangster's bullet. The story is 
episodic, too haphazard to be really effective. Mr. 
Lowe provides another of his hard-boiled perform- 
ances. 
Best — Edmund Lowe 



This really isn't a barkie, although it has an all- 
dog cast. The barks have been removed and human 
voices have been superimposed upon the film. With 
the result that the canines chat like a regular Holly- 
wood cast. In fact, the students of Airedale Univer- 
sity and Spitz College have their college yells. The 
story : A gambler tries to keep the Airedale star from 
playing so that he can win his bets. A terrier vamp 
is called in to make our hero forget his Alma Mater. 
But he escapes and wins the game with a long run. 
This is an amusing novelty and is to be followed by 
other dog comedies. 
Best — Buster 



THE UNHOLY THREE 
M-G-M 

Directed by Jack Conway. 
The cast: Echo, Lon Chaney; 
Rosie, Lila Lee; Hector, Elliott 
Nugent; Midget, Harry Earles; 
Prosecuting Attorney, John 
Miljan; Hercules, Ivan Linow; 
Regan, Clarence Burton; De- 
fence Attorney, Crauford Kent. 



OUR BLUSHING BRIDES 
M-G-M 

Directed by Harry Beaumont. 
The cast: Jerry, Joan Craw- 
ford; Connie, Anita Page; 
Franky, Dorothy Sebastian ; 
Tony, Robert Montgomery; 
David, Raymond Hackett; 
Marty, John Miljan; Mrs. 
Weaver, Hedda Hopper; Mon- 
sieur Pantoise, Albert Conti; 
Joe Munsey, Edward Brophy; 
The Detective, Robert Emmett 
O'Connor; Evelyn Woodforth, 
Martha Sleeper. 

DANGEROUS NAN 
McGREW — Paramount 

Directed by Mai St. Clair. 
The cast: Nan McGrew, Helen 
Kane; Doc Foster, Victor 
Moore; Bob Dawes, James Hall; 
Eustace Macy, Stuart Erwin; 
Muldoon, Frank Morgan; Mrs. 
Benson, Louise Closser Hale; 
Clara Benson, Roberta Benson; 
Godfrey, Allen Forrest. 



BORN RECKLESS— Fox 

Directed by John Ford. The 
cast: Louis Beretti, Edmund 
Lowe; Joan Sheldon, Catherine 
Dale Owen; Big Shot, Warren 
Hymer; Rosa Beretti, Marguer- 
ite Churchill; Bill O'Brien, Lee 
Tracy; Good News Brophy, 
William Harrigan; Frank Shel- 
don, Frank Albertson; Bugs, 
Eddie Gribbon; Ritzy Reilly, 
Paul Page; Joe Bergman, Bed 
Bard; Fingy Moscovitz, Mike 
Donlin; District Attorney, Far- 
rell MacDonald; Pa Beretti, 
Paul Porcasi; Ma Beretti, Fer- 
ike Boros; Needle Beer Grogan, 
Joe Brown; The Duke, Pat 
Somerset. 

COLLEGE HOUNDS 
M-G-M 

Directed by Zion Myers and 
Julius White. The cast: Jiggs, 
Buster, Snookie and Dede. Also 
features 200 other trained dogs. 



ABOUT THE NEW PICTURES 



WITH BYRD AT THE 
SOUTH POLE— Paramount 

Cameramen: Willard Vander 
Veer and Joseph T. Rucker. 



SWING HIGH— Pathe 

Directed by Joseph Santley. 
The cast: Maryan, Helen 
Twelvetrees; Garry, Fred Scott; 
Trixie, Dorothy Burgess; Doc 
May, John Sheehan; Mrs. May, 
Daphne Pollard; Pop Garner, 
George Fawcett; Ringmaster, 
Bryant Washburn; Billy, Nick 
Stuart; Ruth, Sally Starr; Major 
Tiny, Little Billy; Babe, William 
Langan; Sam, Stepin Fetchit; 
Sheriff, Chester Conklin; Bar- 
tender, Ben Turpin; Doctor, 
Robert Edeson; Mickey, Mickey 
Bennett. 



SHADOW OF THE LAW 

Paramount 

Directed by Louis Gasnier. 
The cast : John Nelson, William 
Powell; Jim Montgomery, Wil- 
liam Powell; Edith Wentworth, 
Marion Shilling; Ethel Barry, 
Natalie Moorhead; Tom, Tegis 
Toomey; Pete, Paul Hurst, 
Colonel Wentworth, George Irv- 
ing; Mike Kearney, Frederic 
Burt; Warden, James Durkin; 
Frank, Richard Tucker; Captain 
of Guards, Walter James. 



NUMBERED MEN 
First National 

Directed by Mervyn LeRoy. 
The cast: Bertie Gray, Conrad 
Nagel; Mary Dane, Bernice 
Claire; Bud Leonard, Raymond 
Hackett; King Callahan, Ralph 
Ince; Lemuel Barnes, Tully 
Marshall; Lou Rinaldo, Maurice 
Black; Warden Lansing, Wil- 
liam Holding; Happy Howard, 
George Cooper; Mrs. Miller, 
Blanche Frederici; Pollack, Ivan 
Linow. 



THE SOCIAL LION 

Paramount 

Directed by Eddie Sutherland. 
The cast: Marco Perkins, Jack 
Oakie; Cynthia Brown, Mary 
Brian; Gloria Staunton, Olive 
Bordon ; Chick Hathaway, Skeets 
Gallagher ; Jim Perkins, Charles 
Sellon; Ralph Williams, Cyril 
Ring. 



Two cameramen recorded the saga of the two-year 
expedition of Richard Byrd and his men — and re- 
corded it with such effectiveness that it should be 
seen by every school child in America. Oddly enough, 
this film — of great historical value — is not breaking 
the anticipated theater records. However, it is inter- 
est-holding throughout. You will be fascinated by 
the picturing of the blizzard-swept Little America on 
the edge of the great ice barrier. Of tremendous in- 
terest is the flight over the perilous Queen Maud 
range, across the Pole and back. One unforgettable 
shot: when Byrd drops an American flag, weighted by 
a stone from Floyd Bennett's grave, upon the Pole. 

Best — Rear Admiral Byrd 



This is a romance of a small circus forty years ago, 
the story of a pretty trapeze artist and a singer of 
songs. It breaks frequently into sentimental melody. 
Our hero is suspected of affection for a questionable 
young woman and of robbing the cash box. But, in 
the end, he proves his innocence and gets Maryan. 
This is a slender story with considerable glamour of 
background. As one critic points out, the cast is 
headed by Helen Twelvetrees, who can act but can't 
sing, and Fred Scott, who can sing but can't act. Still, 
Miss Twelvetrees outshines the story and makes you 
forget the crude dialogue. 

Best — Helen Twelvetress 



After tracking crime for some time as the re- 
doubtable Philo Vance, William Powell moves across 
the boundary to the other side. And, if for no other 
reason, this melodrama has a certain interest. Mr. 
Powell goes to prison for life because he has killed a 
man. The crime was committed in self-defense, but 
the woman who can tell the whole story has disap- 
peared. Our hero escapes and starts life anew. Then 
the woman reappears to blackmail our regenerated 
convict, now a North Carolina mill boss. Mr. Powell 
gives his usual suave performance, but the story itself 
is unconsequential. 

Best— William Powell 



Another prison drama but not a grim or realistic 
one. Indeed, it strains at the credulities. "Num- 
bered Men" is a story of the honor system, of three 
amiable convicts — one given to harmonica playing, one 
a pleasant counterfeiter and the other unjustly con- 
victed — who have quite a happy time building bridges. 
That is, until a mean criminal nearly wrecks the honor 
system. But the boys get the evil King Callahan and 
prove themselves. There is a girl, a sweetheart of 
one of the trio, who stands by to help. Bernice Claire 
does very well in this role. Still maybe you will 
like best Ralph Ince as the sinister King Callaghan. 

Best — Bernice Claire 



The infectious grin of Jack Oakie stars in this com- 
edy of a smart aleck youth with sublime belief in 
himself. In truth, Marco Perkins is a little dense. 
He encounters surprises in the prize ring and later 
when he invades society via the polo field. In the end, 
he learns something of a lesson and returns to the 
ring. On the way he makes love to a dashing deb, 
Olive Borden, but finally he returns to his first love, 
Mary Brian. This film is based on Octavus Roy 
Cohen's "Marco Himself." This Oakie will bear watch- 
ing. His full possibilities as a comedian remain to 
be disclosed. 

Best — Jack Oakie 









The studio gates to the Warner Brothers' lot with the trusty 
guardian on the job. 

WARNER BROTHERS' studios! 
That name -stands for many things in Hol- 
lywood. But the foremost of them is the birth 
of the talkies. For the first talking pictures 
made struck the eye and ear of man in the Warner 
studio on Sunset Boulevard. 

The romance of the rise and fall and rise again of 

this studio is as fantastic as the greatest of fairy tales. 

In 1917 Warner Brothers entered pictures by buying 

the old Astra studios in Glendale. There they made the 



VISITS 

to the 

GREAT 
STUDIOS 

A Personally Conducted 

Tour of the Famous 

Warner Brothers' 

Studios 



wartime classic, "My Four Years in Germany," 
by Ambassador Gerard. This picture made enough 
money for the four brothers, Sam, Albert, Jack 
and Harry Warner, to purchase some fifteen 
acres on Sunset Boulevard in Hollywood. That 
was in 1918. 

The present administration building was built, 
and behind it sprang up one small stage and a few 
very small buildings to house films, cameras and 

carpenters' tools. The studio at that time employed 

sixty people. 

T^OUR years of struggling followed. No recognition 
■■■ came the way of the Warner Brothers until 1922, 
when they made "Main Street." That picture was suc- 
cessful enough for them to import Ernst Lubitsch, the 
great German director, who gave them two more suc- 
cesses in quick order, "The Marriage Circle" and "So 



This Is Paris. 




These three pictures put 
Warner Brothers on the map, 
financially and artistically. 
They had risen. 

Confidence reigned and War- 
ner Brothers prepared to take 
their seats at the table of the 
"big fellows" in Hollywood. 
But their day was destined 
not to come yet. Had it come 
then, the most complete revolu- 
tion any business has ever seen 
might have been deferred for 
years, if not for all time. 

Experimenting in 1926, 
Warner Brothers put out an- 
other Barrymore picture, "Don 
Juan." This production intro- 
duced Vitaphone, and thus be- 
came the first to employ syn- 
chronized sound and music. 

Then Sam, Harry, Jack and 

The main studio building of the 
Warner Brothers. Their employees 
jumped from sixty in 1918 to a 
total of two thousand with the 
advent of the talkies. 



86 




The late SAM L. WARNER 
Died on the eve of success. 



H. M. WARNER 
President, Warner Brothers. 



MAJOR ALBERT WARNER 
Vice President — Treasurer, 

1 



J. L. WARNER 
Production Chief. 



FIRST SOUND FILM PROGRAM EVER EXHIBITED 
WARNER THEATER— AUGUST 6, 1926 



THE PROGRAM: 



1 .. 

2 . 

3 . 

4. 



..Will Hays 5 

. . New York Philhar- 6 

monic Orchestra 7 

. . Marion Talley 8 

. . Efrem Zimbalist and 9 

Harold Bauer 



Roy Smeck 
Anna Case 
Mischa Elman 
Giovanni Martinelli 
John Barrymore in 
Don Juan 



Albert Warner threw all their en- 
ergy into the making of another 
picture. We know it now as "The 
Jazz Singer" with Al Jolson. The 
first picture ever made with the 
human voice in synchronization. 

The public welcomed it with 
open arms, stormed the doors of 
theaters at which it played. And 
the motion-picture industry went 
mad over night. 

Because the four Warner Broth- 
ers, in that studio on 
Sunset Boulevard in 
Hollywood, had done 
the impossible. Talk- 
ing pictures were not 
only feasible and prac- 
tical, the public wanted 
them. 



\ NOTE of tragedy 
-f* marred the great 
success of their ven- 
ture. Sam Warner be- 
came ill and died in 
New York almost the 
very day upon which 
"The Jazz Singer" 
opened. 

But, heartbroken or 
not, the business had 
to be carried on. Be- 
cause Warner Broth- 
ers, in those days of 
1928 and early 1929, 
had the only studio 
ready for the great de- 
mand for talking pic- 
tures. They had cre- 
ated that demand, now 



Right, a studio street 
on the Warner Bros, 
lot. Below, entrance 
to the forty-acre Vit- 
agraph lot, owned by 
the Warners. Most 
massive exterior 
scenes are shot here. 








871 



STUDIOS 
STAGE 7 




they reaped the reward of their foresight. 

Not only were the three remaining brothers given 
places at the table of the "big fellows," they were 
given the head of the table. Money was no longer 
one of their worries. Their stock went from eight 
dollars a share to one hundred and sixty dollars, 
counting stock split-ups. 

"The Lights of New York," the first all-talking 
picture; "The Home Towners," "Singing Fool," 
"Gold Diggers of Broadway," "Show of Shows" and 
"Disraeli" followed "The Jazz Singer" in quick 
order. All of these were noted successes. 

In the meantime the studio had expanded rapidly 
to keep pace with the product. The Warner lot on 
Sunset Boulevard was given over solidly, the entire 
fifteen acres, to sound stages, recording rooms, 
executive offices, workshops and property rooms. 
The sixty employees of 1918 had grown to four 
hundred in 1927, but they leaped to two thousand 
with the advent of the talkies. That is aside from 
what might be called "talent" — actors, writers and 
directors. 

The forty-acre Vitagraph lot, one of the first 
studios in Hollywood, was purchased and all ex- 
terior scenes shot there. Three million dollars were 
spent in fixing the Vitagraph lot up for Warners' 
talkies. 

A thousand-acre ranch in North Hollywood was 
purchased for shooting big outdoor scenes. Yes, 
verily, Warner Brothers were at the big fellows' 



One of the Warners'sound- 
proof camera booths. Joe 
Brown sits on top and 
James Hall stands in front. 
Right, John Barrymore 
visits one of the studio 
monitor rooms, where ex- 
perts measure and adjust 
sound. Below,anewsound- 
proof stage in course of 
construction at Warner 
Brothers' !ot. 



% 



' »»; 




HP^*^!' 




table and proved it more than 
ever by stepping out and buying 
one of them, First National Pic- 
tures. 

THE annual budget at the 
Warner Brothers' studio the 
past two years has been over 
Twenty Million Dollars a 
year. It will be increased this 
coming year. Not infrequently 
now Warner Brothers spend 
over $100,000 a day on produc- 
tion. They would have sold their 
studio for that amount but a few 
years ago. 

And this, mind you, is less 
than three years after actors 
were saying, "No cashee, no 
workee!" to that same studio. 

The power of talk — in pic- 
tures — is indeed great. 

Lying idle, ready for call at 
any moment, Warner Brothers' 
property rooms hold enough 



88 



equipment to furnish 
over one hundred 
eight-room houses. 
Several thousand peo- 
ple can be dressed by 
the wardrobe without 
recourse to rented 
clothes. During pro- 
duction season the 
wardrobe makes an 
average of 400 cos- 
tumes a week. 

The studio maintains 
its own police and fire 
forces, has its own hos- 
pital. Enough carpen- 
ters, masons, painters 
and other workmen are 
employed during pro- 
duction season to make 
three medium-sized 
houses a day. Genera- 
tors on the Warner lots 
produce enough elec- 
tric current to light 
the average city of 
fifty thousand people. 
Ten thousand people 

are dependent upon Warner Brothers' salaries 
— either directly or indirectly — for their sup- 
port. And they know the checks are good. 

To Jack, Harry, Albert and their brother, 
Sam, goes all the credit. They did the impos- 
sible. Warner Brothers are sitting at the 
table of the mighty and their studio ranks 
with any. 




Al Jolson's "The Jazz Singer," the motion picture 
that revolutionized the world of photoplay mak- 
ing, was presented at the Warner Theater in New 
York City on the night of October 6, 1927, three 
years ago. 

This milestone in screen history was directed by 
Alan Crosland. Mr. Jolson played Jakie Rabino- 
witz, later Jack Robin. The famous cast numbered 
May McAvoy, Warner Oland, Eugenie Besserer, 
Otto Lederer, Robbie Gordon, Richard Tucker and 
Anders Randolf. 

It is interesting to note that the New York pro- 
gram for the premiere carried this prophetic state- 
ment: " 'The Jazz Singer' is epoch-making. It is 
without doubt the biggest stride since the birth 
of the industry. It is the first story to be done 
with Vitaphone sequences." 




Top, one of the big sound-proof 
stages on the Vitagraph lot of 
the Warner Brothers. Three mil- 
lion dollars were spent in fixing 
this lot up for the making of 
talkies. Center, one of the mas- 
sive sets for John Barrymore s 
production of "Moby Dick." 
California is masquerading as 
New England — and doing it well. 



Left, a big Mexican sot on 
the Warner ranch. This is lo- 
cated in North Hollywood and 
numbers one thousand acres. It 
is used for the shooting of the 
very biggest outdoor scenes. 



89 




Ruth Roland is one of the wealthiest women in California, all because 
she was one of the first to plunge on real estate. Having bought and 
sold tremendous holdings, Miss Roland can snap her fingers at fickle 

film fortune. 



TIMES are changing. 
The signs of the shifting times are everywhere, 
but among them there is none more significant 
than the fact that, in addition to their picture 
work, many of the stars have cast an anchor to wind- 
ward in the form of outside business enterprise. They 
anticipate that rainy day. 

The picture people of today realize that, if Winter 
comes (as it must to the most famous and popular), 
it is no fun to be left out in the cold wondering where 
your Summer's wages went. Consequently they are 
putting their time and money into some enterprise 
which, when the fickle public says "thumbs down," will 
support them more or less in the luxury to which they 
have been accustomed. 

TODAY the residents of the movie capital find it 
difficult to prevent their dollars from reaching the 
swelling coffers of the enterprising stars who have 
turned to commerce. They buy their flowers from Kath- 
leen Clifford, drink milk from Bessie Love's dairy farm, 
have their cars washed by Bill Beaudine, get their 
facials from Katherine MacDonald's and spend their 
vacations with Noah Beery or Gary Cooper. They get 
'em both going and coming! 

What is probably the most ambitious and extensive 

90 



Today's Movie Idols 
Save Their Money and 
Invest It in Real Estate, 
Flower Shops,Garages 
and Other Enterprises 



individual enterprise of them all is 
the one launched by the tall, gray- 
eyed chap who seems to be the logical 
successor to all the romantic heroes 
of the screen's romantic past. Yes, 
I mean none other than Judge 
Cooper's handsome boy, Gary. Al- 
ready mindful of the time when his 
name will no longer work box-office 
magic, he has set about building a 
future for himself in the game he 
knew and loved long before the 
screen claimed him. 

Ever hear of the Gary Cooper 
Ranches Incorporated? If you 
haven't, it won't be long until you 
do, for that corporation, headed by 
Gary, will soon be operating the 
largest string of "dude" ranches in 
the country. 

The first of the string is just open- 
ing for business. It is located sixty 
miles from Helena, Montana. It is 
called the "Home Ranch," for on it 
the boy Gary "rode herd," learned to 
ride, rope and shoot and lived the 
hard life of the ordinary "puncher." 
It consists of about a thousand acres 
bordering the Missouri River, and on 
it is to be found some of the finest 
scenery in all outdoors. The big home 
ranch house has been remodeled and 
fifteen individual cabins erected. 
Under the supervision of Bell, the 
foreman, fifteen cowboys, many of 
them the friends of Gary's range 
days, will ride herd on the tenderfeet 
as they hunt grouse, fish in the cold 
streams, ride horseback and take 
long pack trips into the mountains. Several camps of 
Blackfeet Indians now live on the ranch, insuring 
plenty of Wild West atmosphere for the lucky "dudes" 
who go there to vacation. 

A second ranch of some 1600 acres in the same vi- 
cinity was purchased two years ago and will probably 
be in operation next summer. Gary has just returned 
from Arizona, where he spent several days looking over 
a vast domain of 80,000 acres which the company is 
expected to purchase soon. Other ranches, located in 
various favorable spots throughout the West will be 
added, and every moment that Gary can find, away from 
his picture work and his Lupe, is being spent in develop- 
ing the enterprise. The day will probably come when 
these "dude" ranches will earn more money for the tall 
star than he has ever received from the producers. 

NOAH BEERY, the well-known menace of dozens of 
pictures, is another who will have nothing to worry 
about when he is no longer able to frighten little chil- 
dren and abduct weeping heroines for art's sake. In 
the Noah Beery Paradise Trout Club, five thousand feet 
high in the Sierra Madre, eighty miles from Hollywood, 
he has a gold mine which would make the old Forty 
Niners turn green with envy. 

It was during a deer hunt some time ago that Noah 



The STARS Go Into 

BUSINESS 



By J. EUGENE CHRISMAN 



chanced upon this 
miniature paradise 
nestled in the pine 
covered slopes of the 
mountains. As he 
stood, looking down 
at the clear cold 
stream which flowed 
through it, the idea 
of the Paradise 
Trout Club was 
born. He returned 
to Hollywood, found 
the owner and pur- 
chased the valley. 
A corporation was 
formed, roads built, 
a club house, swim- 
ming pool, tennis 
courts erected. To- 
day it is one of the 
most prosperous re- 
sorts in California, 
and not only mem- 
bers of the screen 
colony but tourists 
from all over the 




Above, the ranch house on Gary Cooper's dude ranch, sixty 

miles from Helena, Montana. Gary has gone into the dude 

ranch racket in a big way. 

Below, Kathleen Clifford in one of her greenhouses. Miss 

Clifford is the bloom magnate of Hollywood, owning a chain of 

flower shops. 



world go there for 
their trout fishing 
de luxe. The little 
stream has been 
dammed into deep 
pools where trout 
from the Club's own 
hatchery await the 
fly of the fisherman. 
Every week-end, 
providing that he is 
not making a pic- 
ture, Noah is on 
hand to make merry 
with his guests. 

pHARLES BICK- 
v- 1 FORD, the big 

two-fisted Irishman 
of "Hell's Heroes" 
and "Anna Christie," 
is another who be- 
lieves in feathering 
his nest while the 
movie magnates are 
still furnishing the 
feathers. Bickford 




91 



THERE WILL BE NO RAINY DAY FOR THE RESOURCEFUL 




The late William Russell was one of William Beaudine's partners in the auto 

laundry business. Beaudine still carries on, managing the Pacific Auto Laundry 

on Vine Street, Hollywood, one of the town's most prosperous businesses. 



finds time between pictures to manage a hog ranch in 
New York State, a three-vessel whaling fleet which oper- 
ates out of San Pedro harbor, an animal business which 
furnishes animals of all kinds for the movies, three 
garages and a combination garage, filling station, park- 
ing lot and cafe. This last is on Washington Boulevard 
in Culver City, just across the street from the M-G-M 
studios. Bickford can often be found there greasing 
cars, filling gas tanks and otherwise thoroughly enjoying 
himself. 

One reason why most of the cars one sees on the 
streets of Hollywood shine until they dazzle the eye, is 
the Pacific Auto Laundry located on Vine Street, a short 
distance below the famous 
Brown Derby. The PAL, as it 
is called, is owned by William 
Beaudine, First National direc- 
tor, and is one of the most suc- 
cessful establishments in Holly- 
wood. All day long it is filled 
with cars waiting to be washed, 
greased, polished and otherwise 
made pretty, a sight that brings 
a smile to Bill's face, when he 
can find time from making pic- 
tures to look it over. The late 
William Russell was also part 
owner of the PAL, his share 
now forming part of his estate. 

If you've ever visited Holly- 
wood, of course you've dropped 
in for a bite at 
Henry's on the 
Boul' and at the 
Brown Derby on 
Vine. These are 
the two best 
places in Holly- 
wood to catch a 
glimpse of your 
favorite players. 

92 



Henry's, as everybody 
knows, is financed and backed 
by Charlie Chaplin, while a 
number of the stars are said 
to be in with Wilson Mizner 
on the Brown Derby. From 
the prices charged in the lat- 
ter, we are sure that all in- 
terested will soon be able to 
retire in luxury. 

CHARLES (Why Bring 
That Up?) Mack, of the 
famous black-face team of 
Moran and Mack, may be the 
laziest, lowdown colored boy 
in the world while he and 
partner are doing their stuff 
for stage and screen — but, 
off stage, Charlie makes the 
busy little bee look sick when 
it comes to gathering the 
honey. He once discovered 
a paint remover by accident 
and now has a factory in the 
East where it is produced 
commercially. During his 
early trouping days he got 
"plum disgusted" with hav- 
ing his trunks smashed up 
so he set about devising 
one that even a baggage 
smasher couldn't break. The 
result was Mack's Wire 
Trunk factory in Cleveland, 
where three hundred inde- 
structible trunks are turned out each month. This does 
not supply the demand and a new and larger factory will 
soon be built near Los Angeles. Mack's latest venture 
is a hundred-acre subdivision at Newhall, California, 
which he has named "Ye Old Crow Land." It lies near 
the Bill Hart ranch and on it Charlie plans to build a 
city. A number of houses are already constructed and 
more going up. He also owns half interest in the Fu- 
turistic Homes Corporation of Long Island, which has 
erected seventy-five Spanish and modernistic homes in 
the East during the past five years. Incidentally, he is 
more successful in his private ventures than he was in 
the famous farm where the white horses ate more than 



Jimmy Gleason 
and Bob Arm- 
strong are part- 
ners in conduct- 
ing the popular 
Southgate Ath- 
letic Club. 








MOTION PICTURE STARS WHO GO INTO BUSINESS 




Charles Bickford not only ru 
whaling fleet, a wild animal 
from the Metro-Goldwyn stu 



the black ones and they 
found out about the pigs 
in the spring. 

Jimmie Gleason and 
Bob Armstrong not only 
staged a good fight with 
the brakeman in "Oh, 
Yeah!" but they put on 
regular boxing matches 
every week at the South- 
gate Athletic Club, 
which they own and op- 
erate. 

Buster Keaton also 
goes in for commercial 
sport as he owns the 
Culver City baseball 
park. Fred Kohler, one 
cf the scresn's roughest 
he-men, also owns a 
semi-pro baseball club 
and raises peacocks on 
his ranch in the San 
Fernando Valley. 

TACK MULHALL pre- 
«J fers to get his out 

of the ground and is 
president of the Mulhall 
Mining Company, oper- 
ating in the Sierra Ne- 
vadas. He is also heav- 
ily interested in a Chil- 
ean nitrate mine from 
which a satisfactory 
check arrives quarterly. 

Karl Dane (no, you 
wouldn't think it) is 

said to own a beauty shop somewhere in Hollywood, but 
he knows only too well what Hollywood's wise crackers 
would do to him if he revealed its name and location. 

Everybody knows of Coffee Dan's cafe on Hill Street 
in Los Angeles, but few are aware that Buck Jones 
owns a substantial interest in it. 

Hoot Gibson, just as you'd suspect, seeing that he's a 
crack pilot, owns the agency for the Blackhawk plane. 
Billy Bevan, the comic, spends his leisure moments 
supervising his ranch near Escondido, from which he 
ships hundreds of crates of avocados each season. If 
you think that Billy is headed for the poor farm, step 
out and buy a couple of avocados for dinner. 

T> AYMOND McKEE now devotes all of his time to the 
-t^- Zulu Hut, a well-known eating place and night 
club on Ventura Boulevard. Hallam Cooley's real estate 
business has grown to such proportions as to force him 
to spend most of his time in the conduct of the business. 
Earle Fox's interests in the Black Fox Military School 
have proven so profitable that he also has withdrawn 
from the screen. Raymond Hatton has grown wealthy 
from his oil property. Wallace Beery is a heavy stock- 
holder in the Maddux Air Lines and William V. Mong 
raises pigs on his ranch near Riverside. Merwyn Le 
Roy owns a knit-goods factory and J. Harold Murray a 
saw mill. 

Huntley Gordon recently disposed of a large hosiery 
mill, which he founded and operated, and Neil Hamilton 
owns a half interest in Sherm's Magic Factory in 
Bridgeport, Connecticut. Harry Green once owned a 
bead factory in Vienna, a commission business in Paris 
and a clock factory in Germany. At present his only 
holding is a dress company in New York City. George 
Cooper owns a hair-tonic plant, and Allen Prior oper- 
ates cattle ranches in both Australia and California. 
Lon Chaney owns a gas water-heater factory in Los 
Angeles, of which his son is general manager. 

Of course, practically every star and director has 



ns three garages, but he owns a hog farm, a three-vessel 

business and a cafe. The garage above is just across 

dio and here Bickford spends his spare time oiling cars. 

a ranch of some sort. Clarence Badger has a turkey 
ranch, William A. Seiter an orange ranch, and Ed- 
mund Lowe a 1200-acre ranch at Skyline, most of which 
was planted to grapes in 1870. The plants come from 
Spain, and many of the vines are now eighteen inches 
thick at the base. Ken Maynard, Hoot Gibson and 
Harry Carey own cattle ranches and Frank Lloyd grows 
walnuts. Cecil B. De Mille is interested in finance and 
is a vice-president of the Bank of Italy. 

LEST you gather that all the outside business enter- 
U prises are the property of the masculine element, 
let us hasten to assure you that many of the most 
extensive and important are those which belong to the 
feminine stars. 

Of course, Ruth Roland deserves first mention, for 
she, long before any of her fellow players realized that 
California real estate was not a bad thing to have, 
began investing her savings in property. Someone said 
not long ago that if all the real estate Ruth Roland has 
bought and sold were assembled into one tract, it would 
cover an area almost as large as the state of Rhode 
Island. She is said to be the wealthiest of all the stars, 
but whether this be true or not, she has accumulated 
a large fortune. She still owns extensive properties, 
the best known of which is probably the subdivision of 
Roland Square on Wiltshire Boulevard. 

Bebe Daniels comes a close second, and there are 
some who call her the Hetty Green of Hollywood. Long 
before it was generally realized that the limited beach 
frontage would some day be tremendously valuable, 
Bebe quietly accumulated a number of sizable tracts. 
Upon most of these she has erected Spanish type beach 
homes which bring a high rental the year round. Ex- 
actly how much other property she owns, no one knows, 
but it is plenty. In addition to this she owns a head- 
light factory in the East and a costume designing shop 
on one of Hollywood's boulevards, operated by her 
former modiste. {Continued on page 131) 

93 



GUIDE to the BEST FILMS 




Nancy Carroll advances from mere flapper roles to a genuinely moving per- 
formance in Paramount's "The Devil's Holiday." This is the story of a mercen- 
ary Chicago manicurist and her reformation. James Kirkwood appears in this 

scene with Miss Carroll 



Group A 

Journey's End. One of the best war pictures yet pro- 
duced. Splendidly acted by Colin Clive and Ian Mac- 
Laren. Plenty of emotional effectiveness, punch and 
action. Tiffany Production. 

All Quiet on the Western Front. Here is a gruesome 
and bloody picturization of Remarque's detailed reaction 
to the World War. It is 
ghastly in its truth and is an 
everlasting sermon against 
war and its futility. Uni- 
versal. 

Sarah and Son. Ruth Chat- 
terton in another "Ma- 
dame X" of mother love. This 
will surely get your tears 
and hold your interest. Para- 
mount. 

Song O' My Heart. John 
McCormack makes his debut 
in this charming drama, in 
which his glorious lyric tenor 
is superbly recorded. He does 
eleven songs. The story is 
expertly contrived to fit the 
world-popular Mr. McCor- 
mack. Fox. 

The Vagabond King. Based 
on "If I Were King," this is 
a picturesque musical set 

"The Song of the Flame" is a 
colorful operetta based upon the 
Russian Revolution. It is one of 
the best of the recent Warner 
musical films. The principals, 
Bernice Claire, Noah Beery and 
Alexander Gray, appear right. 

94 



telling of Francois Villon's career in 
the days of Louis XL Dennis King 
and Jeanette MacDonald sing the 
principal roles, but 0. P. Heggie steals 
the film as Louis XL Paramount. 

Street of Chance. The best melo- 
drama of the year. The story of 
Natural Davis, kingpin of the un- 
derworld and Broadway's greatest 
gambler. Corking performance by 
William Powell, ably aided by Kay 
Francis and Regis Toomey. Para- 
mount. 

The Rogue Song. A great big hit 
for Lawrence Tibbett, character bari- 
tone of the Metropolitan Opera House. 
The tragic romance of a dashing 
brigand of the Caucasus, told princi- 
pally in song. Based on a Lehar 
operetta. Metro-Goldwyn. 

The Green Goddess. Another fine 
performance by George Arliss, this 
time as the suave and sinister Rajah 
of Rokh, who presides over a tiny em- 
pire in the lofty Himalayas. You'll 
like this. Warners. 

Anna Christie. This is the unveil- 
ing of Greta Garbo's voice. 'Nough 
said. It's great. We mean Greta's 
voice. Be sure to hear it. . Metro- 
Goldwyn. 

Devil May Care. A musical romance 
of Napoleonic days, with Ramon 
Novarro at his best in a delightful 
light comedy performance. Novarro 
. This is well worth seeing. Metro- 



sings charmingly 
Goldivyn. 

Lummox. Herbert Brenon's superb visualization of 
Fannie Hurst's novel. The character study of a kitchen 
drudge with Winifred Westover giving a remarkable 
characterization of the drab and stolid heroine. A little 
heavy but well done. United Artists. 

The Love Parade. The best musical film of the year. 




Brief Comments Upon 

the Leading Motion 

Pictures of the Last 

Six Months 



Maurice Chevalier at his best, given charming 
aid by Jeanette MacDonald. The fanciful ro- 
mance of a young queen and a young (and 
naughty) diplomat in her service. Piquant 
and completely captivating. Paramount. 

^The Show of Shows. The biggest revue of 
them all — to date. Seventy-seven stars and 
an army of feature players. John Barrymore 
is\ prominently present and the song hit is 
"Singin' in the Bathtub." Crowded with 
features. Warners. 

Welcome Danger. Harold Lloyd's first 
talkie — and a wow! You must see Harold 
pursue the sinister power of Chinatown 
through the mysterious cellars of the Oriental 
quarter of 'Frisco. Full of laughs. Paramount. 

They Had to See Paris. A swell comedy of an 
honest Oklahoma resident dragged to Paris 
for culture and background. Will Rogers gives 
a hilarious performance and Fifi Dorsay is 
delightful as a little Parisienne vamp. Fox. 

The Trespasser. A complete emotional pano- 
rama with ' songs, in which Gloria Swanson 
makes a great come-back. You must hear her 
sing. Gloria in a dressed-up part — and giving 
a fine performance. United Artists. 

Sunny Side Up. Little Janet Gaynor sings 
and dances. So does Charlie Farrell. The 
story of a little tenement Cinderella who wins 
a society youth. You must see the South- 
ampton charity show. It's a wow and no 
mistake ! Fox. 

The Lady Lies. In which a lonely widower 
is forced to choose between his two children 
and his mistress. Daring and sophisticated. 
Beautifully acted by Claudette Colbert as the 
charmer and by Walter Huston as the wid- 
ower. Paramount. 



Group B 



If yo 
that 



The Devil's Holiday. In which Nancy Car- 
roll gives us a real surprise with her fine 
characterization of a gold-digging Chicago 
manicurist. Phillips Holmes' performance is 
also worthy of commendation. Paramount. 

Bride of the Regiment. This was once the 
stage operetta, "The Lady in Ermine." 
Vivienne Segal, Broadway luminary, does well 
with her role as the countess bride. Walter 
Pidgeon and Myrna Loy are also members of the cast. 
First National. 

So This is London. Undoubtedly you saw Will Rogers 
in "They Had to See Paris." Here's a sequel comedy 
which shows what went on when the Draper family vis- 
ited London. Not as good as its predecessor. Fox. 

Paramount on Parade. A series of specialties con- 
tributed by the company's various stars. Pretty dull 
entertainment. Kept alive by M. Chevalier who, with 
Evelyn Brent, furnishes one of the best bits in "The 
Birth of the Apache." Paramount. 

Show Girl in Hollywood. Remember Alice White as 
Dixie Dugan in "Show Girl"? Well, this is her further 
adventures, showing the trials and tribulations of a 
newcomer seeking a break in pictures. Don't miss it. 
First National. 

The Divorcee. Based on Ursula Parrott's "Ex-Wife." 
Norma Shearer gives a striking characterization and is 




u read the Dollar Thoughts page in New Movie, you know 
Lawrence Tibbett's screen debut has caused a lot of dis- 
cussion. He is shown above in a scene of "Rogue Song with 
Catherine Dale Owen. 



ably supported by Chester Morris, Robert Montgomery 
and Conrad Nagel. Metro-Goldwyn-Mayer. 

Montana Moon. Presenting Joan Crawford as the 
spoiled daughter of a ranch-owner. She marries a cow- 
boy and then decides to go her own way in New York. 
There is a song hit, "The Moon Is Low." Metro- 
Goldwyn-Mayer. 

Ladies Love Brutes. Here you have George Bancroft 
as a builder of skyscrapers who falls in love with a 
beautiful young woman of wealth. Many humorous 
situations arise when George tries to make himself over. 
Mary Astor, as the young aristocrat, is excellent. 
Paramount. 

Young Man of Manhattan. Adapted from Katherine 
Brush's best seller. The story concerns newspaper re- 
porters. Claudette Colbert and Norman Foster have 
the leads. The honors go to Charles Ruggles. Para- 
mount. 

95 




Gossip of the Studios 

(Continued from page 23) 

Whiting, by the way, is married to the 
first Mrs. Douglas Fairbanks, mother ox 
Doug. Jr. 



Roy Neal, thirteen, hiked all the way 
to Hollywood from Bluefield, Virginia. 
He did it in three weeks and left home 
without a cent. He wanted to be a 
screen cowboy. 



MARION DAVIES rushed to New 
York for the opening of "The 
Florodora Girl" and then unexpectedly 
sailed for Europe. She doesn't start a 
new picture for some months. 



BETTY COMPSON is redecorating 
her big house on Hollywood Boule- 
vard and expects to move in soon. 

WATCH for Leslie Howard when 
"Outward Bound," a Warner 
Brothers' picture, is released. Mr. 
Howard is an English stage star and 
made a big hit in New York last year in 
"Berkeley Square." He isn't known yet 
to picture audiences but many regard 
him as the best actor around these parts. 
On the set the other day the whole 
troupe stopped to watch him work and 
they have been singing his praises ever 
since. Hollywood wishes he'd do "Berk- 
eley Square" as a picture. 



FOUR girls under eighteen went to 
the courts in Hollywood last month 
to get their contracts okayed. Lucille 
Powers, Joy Speare, Mary Wayne and 
Pauline Brooks have all been signed for 
five years by Metro-Goldwyn-Mayer. 
* * * 

J ETTA GOUDAL, ill and confined to 
her bed for the last two months, 
was finally allowed to get up by her 
doctor. And the first thing she asked 
for was permission to see a movie. 

SUE CAROL had her tonsils out and 
caught cold. She was in bed for 
two weeks. 



ESTHER RALSTON walked down 
Fifth Avenue, New York City, not 
long ago in a pair of street pajamas. 
She said that the present-day garb of 
women is too heavy and oppressive! 
Says Bill Haines: "I don't know where 
that gal has been, but it must be some 
place where they wear different clothes 
than those I've seen on the streets." 



The best picture of Doug and Mary made in some years. They were snapped 
for NEW MOVIE at a Hollywood premiere just after Doug returned from his 

recent trip to England. 

96 



CONTEST WINNERS 

New Movie is happy to announce that 
checks for five dollars are being for- 
warded to the following winners in the 
"Laughs of the Films" competition: 

Avis Bellaire, No. 2217 Harriet 
Avenue, Minneapolis, Minn. 

J. S. Banks, No. 100 No. Dooley 
Avenue, Richmond, Va. 

Mary Hellman, No. 1166 Stebbins 
Avenue, New York City, N. Y. 

Lack of space prevents the publica- 
tion of the winning letters. 



EVANGELINE 
ADAMS 

The World's Greatest Astrologer 
Starts in NEW MOVIE Next Month 

IlA ISS Adams is the world's most celebrated astrologer. During 

'"* the 35 years of her active practice she has been consulted 

by a hundred thousand men and women. Among her personal 

clients have been John Burroughs, Enrico Caruso, James J. Hill, 

Mary Garden, three presidents of the New York Stock Exchange, and practically every celebrity 

of the stage and screen. 

Miss Adams foretold the death of King Edward VII, as well as the death of Caruso and 
Rudolph Valentino. In 1912 she prophesied the World War in 1914. In 1928 she foretold a 
Wall Street crash in October, 1929. 

In her first NEW MOVIE contribution, Miss Adams will discuss the month of October and the 
stars — and what they mean. She will tell you how the stars have affected the motion-picture 
careers of many favorites born in October, discussing Janet Gaynor and others in detail. 




Evangeline Adams 



Adventures in Interviewing 



written and published an article about 
him two years before. He did not 
hesitate. 

Within two minutes the fracas was 
on. It all happened with terrifying 
speed. The only words said as Jack 
was rushing toward me, were by my 
comrade, who has the appearance of a 
teacher who has lost his Sunday school 
class in the woods. The right side of 
his face was motionless. He snapped 
quickly out of the left, "On your feet! 
On your feet!" 

Jack Gilbert, like all of us, has been 
criticized severely. No man can ques- 
tion his magnificent courage. 

As always in such affairs, the waiters 
were dumfounded. Jack was taken 
from the place by Grauman and Miss 
Claire. 

Grauman's fairness as a man was 
tested that night. He met Wilson 
Mizner at the Ambassador Hotel where 
they both live. They had been friends 
since the early Alaska days. Jack's 
close friend, he could easily have col- 
ored the affair when he told Wilson 
about it. Instead, he told the entire 
truth. 

Many accused both Gilbert and me 
of seeking publicity. This is their 
answer. 

Through the efforts of Wilson Mizner, 
Sid Grauman and others, the affair was 
kept out of the newspapers for ten 
days. We thought it was forgotten, 
when suddenly it "broke." 

Offers of ring engagements came 
from all over America. One man 
offered a purse of twenty thousand 
dollars. 

Gilbert is a warm impulsive fellow. 



(Continued from page 43) 

His friends are loyal to him. Many of 
them, including Paul Bern, King Vidor, 
Benjamin Glazer and Herman Mankie- 
witz, are my friends also. They ar- 
ranged a meeting between us. 

With a nature completely magnani- 
mous he has not retained the least touch 
of bitterness. Of course, he would fight 
me in a minute— or Camera for that 
matter. 

Out of it has developed a fine friend- 
ship, of which I am glad. 

ONE of the most charming and finest 
women I have ever known is 
Louise Dresser. Her father, William 
Kerlin, was for many years a railway 
conductor. He was killed in a railroad 
wreck when Louise was a child. So 
upon Louise Kerlin's fourteen-year-old 
shoulders fell the burden of bread- 
winning. 

Some friends had joined a musical 
troupe in Boston. Remembering Louise's 
glorious singing voice, they recom- 
mended her for a position in the same 
company. She followed them to the 
eastern city. 

Louise arrived in Boston with eight 
dollars. The "musical troupe" proved 
to be a second-rate burlesque company. 
As an immediate income was impera- 
tive, the girl accustomed herself to the 
prevailing coarseness. Her innocence 
was termed "greenness" by the bur- 
lesque habitues. After five heartbreak- 
ing weeks she was dismissed. She 
secured another position immediately 
as an understudy in a better company. 
Another dismissal followed. 

Her money dwindled to fifty cents. 
Her landlady, an elderly widow, sensed 



the girl's situation and invited her to 
share a Sunday dinner. The sight of 
appetizing food after a week of starva- 
tion was too much. Louise fainted at 
the table. 

The next day a letter arrived from 
Mrs. Kerlin. She had enclosed a five- 
dollar bill. Disaster was temporarily 
averted. 

With new hope Louise visited the 
theaters. She secured a role with a 
road troupe playing "Peck's Bad Boy." 
The salary was eighteen dollars weekly, 
plus transportation. Halcyon days at 
last. 

She was retained for a second sea- 
son's engagement. The salary was in- 
creased to twenty-three dollars per 
week. 

While playing in Detroit she was in- 
terviewed by E. D. Stair, owner of The 
Detroit Free Press, a prominent theat- 
rical manager of the day. He engaged 
her to play for a season with Ward and 
Vokes. 

She followed this with a series of ap- 
pearances at Ohio and Indiana summer 
parks. Her salary had risen steadily, 
and she was gaining in poise and 
technique. 

At this time Paul Dresser was the 
most successful publisher of popular 
songs in America. Under a great, 
three-hundred-pound exterior he hid a 
heart as sentimental as his ballads. 
His real name was Paul Dreiser. His 
brother was later to gain world-recog- 
nition as a novelist, Theodore Dreiser. 
The latter has immortalized the ballad 
maker in one of his finest pieces of 
writing, called "My Brother Paul." 
(Continued on page 104) 

97 



Herb Howe's Outline of Hollywood History 




(Continued from page 37) 



The Hollywood Athletic Club on Sunset Boulevard, 

Hollywood. Here live many of the bachelor stars and 

prominent players of the movies. 



ried one of the extras, Wallace Reid. 

Cecil De Mille In a Barn— Down in 
Los Angeles Colonel Selig had a studio 
as early as 1908. His first complete 
picture was "In the Sultan's Power." 
In 1910 the Biograph company arrived 
with D. W. Griffith as director. With 
him came Mary Pickford, her husband, 
Owen Moore, Mack Sennett, Arthur 
Johnson the matinee idol of the day, 
Florence Lawrence, Marjorie Favor 
and Lee Dougherty. One by one these 
too drifted out to Hollywood in later 
years. 

The most important event since the 
arrival of the first padres was the com- 
ing of Jesse Lasky and Cecil B. De 
Mille. Mr. Lasky started his profession- 
al career as a cornet player in a San 
Francisco orchestra. Later he achieved 



Last but not least, the 
Hollywood Chamber 
of Commerce, on 
Sunset Boulevard. 
The Chamber of 
Commerce can be 
mighty proud of it- 
self. Isn't Hollywood 
a household word in 
every part of the 
globe ? 

98 



the distinction of 
being the only 
white man in the 
Royal Hawaiian 
Band. 

In New York he 
entered the theatri- 
cal field in a big- 
ger way. He was 
one of the promo- 
ters of the ill-fated 
"Follies Bergere" 
in that city. Upon 
its failure he de- 
cided to go West 
and try his hand 
at making movies. 
He wanted to en- 
gage William De 
Mille as a director. 
William already 
had shown his skill 
as a stage director. 
But William was 
engaged. 

William's mother 
suggested that Mr. 
Lasky take young 
Cecil, who didn't 
seem to be amount- 
ing to much but 
who she was sure 
had great genius. 
Mr. Lasky was 
pardonably skepti- 
cal of a mother's 
endorsement. The 
De Milles, however, 
were a great fami- 
ly and so he fig- 
ured that Cecil 
must have some- 
thing in him. 

They came West 
together, Jesse and 
Cecil, and leased 
the old Blondeau barn in the middle of 
an orange grove at Vine and Selma 
streets. It was appropriate that the 
pioneer venture of these movie padres 



should be an Indian picture, "The 
Squaw Man," which they made with 
Dustin Farnum as the star in 1914. 

Cecil De Mille in a barn is a picture 
incredible. Perhaps it was rebellion 
against this stable environment that led 
him to glorify the bathtub and at- 
tendant luxuries. Certainly he, more 
than any other man, has advanced the 
standard of home comfort. 

The New Athens — Hollywood today is 
a suburb of Los Angeles with a popu- 
lation of its own of about 150,000. I 
am not versed poetically enough to 
chant with a publicity pamphlet which 
says: "Hollywood has within it prob- 
ably the greatest number of highly cul- 
tured, world-famous people any city of 
similar size has claimed since the Per- 
iclean age of Athens." I am not of 
the Periclean age, and I am not a 
biographer of Athens. Perhaps Will 
Hays or Conrad Nagel is equal to 
Demosthenes. I cannot off-hand pick a 
Hollywood successor to Socrates or 
even to Euripides. But time will tell. 

I do declare that Hollywood has more 
spice in the way of variety, more color 
and romantic glamour than any city 
in this gawky new land of ours. Re- 
member she is just seventeen, just a 
flapper of high-school age. And yet 
she exerts a world fascination com- 
parable to that of such old sirens as 
Paris and Rome. 

You must linger with her a while to 
know her. Don't judge her entirely by 
the studio rouge. Loiter along her 
peppered drives, penetrate into the 
Cahuenga hills, meditate a few mo- 
ments in the Mission of San Fernando. 
Only through reverence for the knight- 
ly Cahuenga, the brave and gentle 
Father Serra, the hospitable dons and 
the spirited bandits can you come to 
appreciate fully the charm that springs 
from the ground of luxuriant Holly- 
wood — once La Nopalera, field of 
cactus. 





Think how little it costs 
to have six-cylinder performance 



Everyone knows that a Six is smoother, 
quieter and easier to drive. Everyone 
agrees that these are the qualities which 
add most to motoring satisfaction. And 
when you huy a Chevrolet Six, you get 
these big advantages without the slightest 
sacrifice of sensible economy. 

Everything connected with Chevrolet 
ownership speaks in terms of thrift. Chev- 
rolet prices are as low as $495 at Flint. 
The down payment is small and the 
monthly terms are unusually easy. And 



best of all, Chevrolet costs no more to 
operate than any other car you can own! 
Not merely for gasoline and oil. But also 
for tires and upkeep. 

When you consider the long-lived satis* 
faction assured by Chevrolet's modern 
design and thorough-going quality — and 
when you think how little this really costs, 
you will agree with over two million others 
that it's wise to choose a Chevrolet Six. 

CHEVROLET MOTOR COMPANY, DETROIT, MICH. 
Division of General Motors Corporation 






CHEVROLET SIX 



Sport Roadster.. 8555 Club Sedan 8665 ROADSTER or PHAETON Sedan Delivery. 8595 1 M Ton Chassis 8520 

Coach Sb65 Sedan *675 $^ ^~|^ J^T Ligh f Delivery With Cab 8625 

chaB8ia "65 PHces f „ h fact 

Roadster Deliv'y8440 Flint, Mich. Special 



Coupe ..'.'.'.'.'. '$565 S j >ecial S * dan • ' *] 2! > 
.-_- (6 wire wheels standard 
Sport Coupe . . . 8655 on Special Sedan) 



mJAL»o itnor rancj i \jrt 

405 



{Pick-up box extra) 



equipment extra 



They gave aneiv I In ri 

THAT'S WHY THEY COT THERE. ...SO QUICKLY 



RUDY VALLEE 

Two years ago he stepped into the 
spot-light on a little cafe floor and 
crooned a song called "Deep Night." 
Today deep night on Broadway sees 
his name blazed in electric signsi 



• • • 



It wasn't the cut of his clothes ... or 
the break of his luck. This youngster 
just naturally delivered something 
that the public wants! 

Just so OLD GOLD cigarettes have 
grown from a baby brand to a giant 
brand in record time . . . because 
they delivered a new enjoyment . . . 
they thrilled the taste and comforted 
the most sensitive throat. 




"So you're a saxophone player, eh? 
Well . . make me weep!" "Do your 
stuff," said the vaudeville booker. Rudy 
did ! And fame caressed him. The whole 
public succumbed in two short years. 



On March 7, 1927, OLD GOLDS were 
introduced in Illinois. Today, the city of 
Chicago alone smokes nearly 3,000,000 daily. 



BETTER TOBACCOS 



"NOT A COUGH IN A CARLOAD" 



What the Stars Are Doing 



STAR TITLE 

FIRST NATIONAL STUDIO 



Otis Skinner 
Richard Barthelmess 
Jack Whiting 
Ben Lyon 
Irene Rich 
Lila Lee 



Kismet 
Adios 

College Lovers 
Hot Heiress 
Father's Son 
The Gorilla 



DIRECTOR 



J. F. Dillon 
Frank Lloyd 
John Adolfi 
Clarence Badger 
Harry Beaudine 
Brian Foy 



KIND OF STORY 



Drama 

Romance 

Football 

Musical 

Drama 

Farce Comedy 



LEADING PLAYER 



Loretta Young 
Mary Astor 
Marian Nixon 
Ona Munson 
Lewis Stone 
Walter Pidgeon 



FOX STUDIO 

John Wayne 
Milton Sills 
Charles Farrell 
Edmund Lowe 
Lois Moran 
El Brendel 
Ted Healy 



The Big Trail 
The Sea Wolf 
Devil With Women 
Men on Call 
Red Sky 
Just Imagine 
Soup to Nuts 



Raoul Walsh 
Al Santell 
Frank Borzage 
John Blystone 
A. F. Erickson 
David Butler 
Benjamin Stoloff 



Pioneer Drama 

Sea Story 

Drama 

Sea Story 

Northwest Drama 

Comedy 

Farce Comedy 



Margaret Churchill 
Ian Keith 
Rose Hobart 
Sharon Lynn 
J. H. Murray 
Maureen O'Sullivan 



HAROLD LLOYD STUDIO 

Harold Lloyd Feet First 



Clyde Bruckman Comedy 



Barbara Kent 



METRO-GOLDWYN-MAYER STUDIO 



Grace Moore 

All Star 
John Gilbert 
Buster Keaton 
All Dogs 



Untitled, based on Sidney Franklin 

life of Jenny Lind 
Olympia 

Way for a Sailor Sam Wood 

Forward March Ed Sedgwick 

All Quiet on the K-9 Zion Myers and 

Front Jules White 



Costume Drama 

Comedy Drama 
Sea Story 
War Comedy 
Dog Comedy 



Reginald Denny 

Maria Alba 
Leila Hyams 
Conchita Montenegro 



PARAMOUNT PUBLIX WEST COAST STUDIO 



Richard Arlen 
Gary Cooper 

Betty Compson 
Maurice Chevalier 



Untitled 

The Spoilers 
The Little Cafe 



Otto Brower 

Edwin Carewe 
Ludwig Berger 



Western 

Alaskan Drama 
Farce Comedy 



Rosita Moreno 
Bill Boyd 

Kay Johnson 
Frances Dee 



PARAMOUNT PUBLIX EAST COAST STUDIO 



Nancy Carroll 
Buddy Rogers 
Jack Oakie 



Laughter 
Heads Up 
Sap From Syracuse 



Harry D'Arrest 
Victor Schertzinger 
Eddie Sutherland 



Comedy Drama 
Musical Comedy 
Comedy 



Fredric March 
Helen Kane 
Ginger Rogers 



R K O STUDIO 

Irene Dunne 



Leatherneck 



Ed Kline 



Comedy 



Kenneth Murray 



UNITED ARTISTS STUDIO 

Nothing in Production 



UNIVERSAL STUDIO 

Mary Nolan Outside the Law 



Tod Browning 



Melodrama 



Owen Moore 



WARNER BROTHERS STUDIO 



Charles Bickford 
Joe E. Brown 
Leslie Howard 
Don Alvarado 



River's End 
Sit Tight 
Outward Bound 
Gay Caballero 



Michael Curtiz 
Lloyd Bacon 
Robert Milton 
Al Crosland 



Northwest Drama 
Comedy 
Drama 
Comedy Drama 



Evelyn Knapp 
Winnie Lightner 
Doug Fairbanks, Jr. 
Fay Wray and 
Victor Varconi 



101 





An excellent 
exercise is 
shown at the 
right. Lie flat 
on the back. 
Raise one leg, 
bring it down 
riding-the-b 
cycle fashion 



Lila Lee's exercise for slenderness. Raise 
the arms straight upward. Bring the 
hands down so that the fingers touch the 
shoulders, as above. When drawing down 
the arms, pretend that a heavy weight is 
being pulled, so that all the muscles come 
into play. Then place the hands behind 
the head, as shown at upper left, rise on 
tiptoes, inhaling to capacity. 



FIRST AIDS to BEAUTY 



By ANN BOYD 



THIS is the time of the year when every girl should 
take stock of herself before the opening of the 
new season. She will find herself, these August 
and September days, a very satisfactory Summer 
girl. If she has spent her vacation wisely, she will have 
an even coat of tan and will be in far better physical 
condition than she was last Spring. For instance, if 
she has been too thin, she should have gained weight 
because sunlight, in reasonable quantities, is fattening 
— not the way heavy starchy foods are fattening, but 
a healthy weight such as cod liver oil furnishes. That 
is to say, it is an indirect additional weight brought 
about by a healthy appetite. On the other hand, if she 
has been overweight, a girl at the end of the Summer 
should find herself thinner because of the unusual op- 
portunities she has had to exercise. 

Now, granting that you are in the best of physical 
condition, what are your problems for the Fall? Per- 
haps you will find that your suntan is too heavy. But 
it isn't likely that this will bother you. You will be 
more apt to cherish your becoming tan. If it annoys 
you, however, there are bleaching creams and lotions 
that will do away with it in a week. 

Your hair, if it is the shade that is easily bleached 
by the Summer sun, may need special washes to bring 
it back to its uniform color. If it has been dried and 

102 



made brittle by sun and wind, I recommend a treatment 
of hot oil shampoos. Or if, for the convenience of 
Summer sports, you have had a short bob, you will 
probably want to allow your hair to grow for the 
Winter. 

'TpHIS business of growing long hair is not a simple 
■*■ or pleasant one. But there are ways of minimizing 
the difficulties. When hair is at that awkward stage, it 
is best to use some sort of net to catch up the stray 
ends. There are also hair pins that will really hold both 
the hair and net in shape. Before trying to catch the 
short and reluctant hair into a knob, it is best to allow 
it to grow well down to the shoulders. By keeping the 
hair curled and by pinning it carefully, the effect is 
often so becoming that many women look best with their 
hair at the so-called awkward length. And remember, 
if your hair worries you, that the bob is by no means 
out. In fact, every day it is gaining in favor, for women 
are slow to drop such a convenient and becoming 
fashion. 

Of course, you must decide on your Fall and Winter 
wardrobe. Probably you are debating the question of a 
fur coat. There are so many varieties of furs and so 
many variations of the standard furs, that even the 
experts have trouble keeping {Continued on page 129) 



The New Movie Magazine 



A D I A M ON D 

AND AN EGG 

AND A B A 

OF SOAP 




If you were buying diamonds, you'd 
want the finest stones, not the 
greatest number of stones, that your 
money would buy. You'd look for a 
bargain in value. 

When you buy eggs, you want the 
freshest, not the "most for your 
money." For freshness means value, 
and that's what you're after. 

In buying soap, you again have your 
choice between a bargain in price and 
a bargain in value — between ordinary 
soaps and Fels-Naptha. The first may 
save you a penny or so at the store — 
the second will save you a great deal 
of work in your washing. And after 
all, isn't that the most important thing 
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help it can give you ? 

Fels-Naptha gives you extra help. 
It brings two active cleaners to the 
washing job — good golden soap and 
naptha, instead of just soap. And 
there's plenty of naptha in each 
golden bar — you can smell it. Work- 



ing hand-in-hand, these two busy 
cleaners loosen dirt and wash it away 
without hard rubbing. Your wash goes 
to the line clean through and through, 
with the fresh, sweet odor of home- 
washed clothes. 

Fels-Naptha gives extra help, no 
matter how you use it. It's one soap 
you don't have to pamper. Naturally 
it washes best in hot water — all soaps 
do. But it also washes beautifully in 
lukewarm, or even cool water — 
whether you soak your clothes or boil 




FELS-NAPTHA 

The Golden Bar with the Clean Naptha Odor 



them — whether you use washing 
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long, which helps to keep them nice. 
Use Fels-Naptha for all household 
cleaning tasks as well as for the family 
wash. Get a few bars (or the handy 10- 
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and learn about this bargain in value ! 

SPECIAL OFFER — Whether you have been using 
Fels-Naptha for years, or have just decided to try 
its extra help, let us send you a Fels-Naptha 
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tubs or basins find the chipper handier than using 
a knife. With it, and a bar of Fels-Naptha, you can 
make fresh, golden soap chips (that contain plenty 
of naptha 1) just as you need them. Mail coupon, 
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and we'll send you this chipper without further 
cost. Here's the coupon — mail it nowl 



© 



1930, FELS & CO. 



T.N.JI. 9-30 



FELS & COMPANY, Philadelphia, Pa. 

Please send me the handy Fels-Naptha Chip- 
per offered in this advertisement. I enclose a 
two-cent stamp to cover postage. 

Na m e __^ 



Street- 



- St a te- 



City 

Fill in completely — print name and address. 



103 



Adventures in Interviewing 



10UISE KERLIN was acquainted 
-* with Raymond Hubbell, Dresser's 
pianist. He arranged for her to meet 
Dresser. At the mention of her name 
the great maker of songs was immedi- 
ately alert. He asked her where she 
had lived as a child, her father's name, 
his profession. Astonished at his in- 
terest, she told him. He requested her 
to sing several sentimental ballads. 
When she had finished, with no word 
of explanation, he turned to the phone. 
The startled young singer heard him 
say, "Dramatic editor of The Tribune, 
please. Bill? This is Paul. Say, my 
kid sister is in town. She's going to 
appear at the Masonic Temple Roof 
next Sunday night. Treat her right in 
the paper, will you? Her name? Oh, 
Louise Dresser." 

Turning to the amazed Louise, he 
said, "I sold newspapers on Bill Ker- 
lin's train when I was a boy. He was 
one of the finest men I've ever known — 
He was never too busy to say a kind 
word to a lonely kid. If my name is of 
cny use to his daughter, she is welcome 
to it." 

And Louise Kerlin became Louise 
Dresser. 

During all the years that she made 
his name famous, Louise Dresser was 
Paul Dresser's constant friend. When 
f'iscouragement and misfortune were 
his lot, she was an infallible source of 
sympathy and understanding. She was 
with him at the time of his death. It 
was her sad task to put his personal 
effects in order. In his pocket was one 
penny, his entire worldly wealth. Like 
her father, he had died poor in order 
that his fellow men might find the 
cruel journey through life a little more 
bearable. 

After her appearance at the Masonic 
Temple Roof, which was America's 
foremost variety theater, she accepted 
an engagement with the leading Ameri- 
can vaudeville circuit. For the next 
seven years she remained in vaudeville. 
During this time she became one of the 
most highly paid entertainers in the 
world. 

Tiring of the constant travel of the 
oad, she joined a musical comedy in 
Mew York. She appeared opposite the 
leading stars of the day, including Lew 
Fields, Barney Bernard, Alexander 
Carr and De Wolf Hopper. 

In 1917, while playing in "Have a 
Heart," she was injured by a fall upon 
the stage. After spending a year in an 
Eastern hospital, she came to Califor- 
nia to recuperate. Her mother, who ac- 
' impanied her, was enchanted with the 
West. On Mother's Day, 1920, Miss 
dresser presented her with a beautiful 
] ome in Glendale, a suburb of Los 
Angeles. 

Several seasons passed during which 
she worked once more in New York 
m-oductions. Then, weary of theatrical 
success and lonely for her mother, she 
decided to live permanently in Cal- 
ifornia. 

QINCE 1908 she had been Mrs. Jock 
^3 Gardner. They furnish evidence 
+hat marital felicity is not entirely in- 
c >mpatible with stage life. Many 
years of domestic contentment had 
proved to Miss Dresser that her happi- 
r.ess was not dependent upon dramatic 

104 



(Continued from page 97) 



triumphs alone. She came to Califor- 
nia with the resolve to abandon her 
career permanently, and devote her 
time to her husband, himself a former 
musical comedy favorite and now the 
efficient casting director at the William 
Fox Studios. 

She had no thought of entering films. 
Pauline Frederick, an old friend, was 
making "The Glory of Clementina." At 
her insistence, Miss Dresser assumed 
a role in the picture. Despite the con- 
certed praise of her friends, she was 
convinced that her performance had 
been a failure. Reluctantly she con- 
sented to accept a part in "Burning 
Sands" for Lasky. At the finish of this 
picture she decided to return to New 
York. Her work before the camera had 
awakened a desire for dramatic expres- 
sion, but she was convinced that there 
was no place for her in films. 

When she was preparing to leave, 
the opportunity came to play in 
"Ruggles of Red Gap." James Cruze 
was the director. He sensed as no one 
else had, her great screen potentiali- 
ties. He was successful where others 
had failed. Miss Dresser's self-confi- 
dence began to revive. Cruze's under- 
standing and encouragement overcame 
her preconceived delusions of inability. 
For the first time she wanted to remain 
in pictures. 

The next picture she made was "The 
Goose Woman," directed by Clarence 
Brown. He completed what Cruze had 
begun. The last of her mental fear was 
banished. She is still convinced that 
without Cruze and Brown she would 
never have found the courage to con- 
tinue a work that had her spiritually 
defeated. 

After years as a singer, Miss Dresser 
has become famous as a film player. 
Her sense of rhythm and tempo is so 
unerring in her film work that one is 
inclined to attribute it to her life-long 
association with music. 

THE early struggles of Louise 
Dresser reminded me of the first 
woman I ever interviewed. Her name 
is Helen Holmes. She was famous for 
her daring in "The Hazards of Helen," 
the railroad thrillers of yesterday. 

Miss Holmes entered pictures by way 
of the Chicago Art Institute. Talented 
and ambitious, she was going without 
meals and proper clothing to pay for 
her lessons. She lived in a cheap little 
rooming house with a basement dining 
room. On Thanksgiving Day Helen had 
lain long abed so that one meal might 
take the place of two. The landlady 
came to her door to tell her that 
Thanksgiving dinner was ready. Feel- 
ing that she should not spend any 
money for food that day, Helen made 
her way to the basement. Almost over- 
come by the aroma of turkey and "trim- 
mings" she ordered tea and toast. The 
landlady insisted that she fill up her 
plate. Helen answered that she wasn't 
hungry and did not feel well and 
doubted that she could eat even what 
she had ordered. 

Too proud to admit her financial dis- 
tress she finished the tea and toast. 
Still hungry, she went to the cashier, 
only to find that, for the regular guests, 
Thanksgiving dinner was "on the 
House." 



The next week Helen got a chance 
to act as model for Loredo Taft. She 
posed for many of the figures that 
made his work famous. A cold barn- 
like studio that would keep clay in a 
workable state and drapes wet enough 
to cling properly, threatened her with 
tuberculosis. Her brother took her to 
Death Valley, California. 

The accidental death of this brother 
left Helen with her mother and grand- 
mother to support and she came to 
Hollywood. 

Mabel Normand got Helen her first 
chance in pictures. Sennett put her in 
stock at thirty dollars a week guar- 
antee. Thirty dollars did not go very 
far towards supporting herself and 
family. One day she was offered 
twenty-five dollars for falling off a 
horse. She needed the money. She did 
not know anything about falling off a 
horse. And it looked easy. 

Never had anything looked as high 
as that horse once she was on him. She 
determined that nothing in the world 
would induce her to make the fall. She 
would not even start, career or no 
career. But the horse was picture-wise. 
When the director yelled "Come on" the 
horse started. Helen hung on with both 
hands. Just as the assistant fired the 
pistol which was the signal, the horse 
stepped in a gopher hole and threw 
Helen for one of the prettiest falls that 
had ever been photographed. 

Her utter surprise that such a thing 
could happen and not hurt, killed her 
fear. It was, perhaps, the thing that 
made possible the feats which made 
her first among stunt actresses. 

Doubles were little known during the 
early "thriller" days. Most of the 
sixty-two stories which comprised the 
"Hazards of Helen" were written by 
Miss Holmes. Several of them she 
directed. Leaping from bridges to mov- 
ing trains or from moving trains to 
horses and automobiles or being bound 
and snaked out of car windows was all 
in a day's work. 

The plot of one story hinged on the 
fact that the heroine was tied to the 
drive shaft of the locomotive. The en- 
gineer refused to do it, claiming it was 
too dangerous. The director bullied 
and cajoled. Finally it was agreed 
that such a thing was possible if the 
locomotive did not go over twelve miles 
an hour. Helen was tied on. The di- 
rector speeded the train to thirty-eight 
miles an hour. Apparently he had not 
known — or cared — that, at thirty-eight 
miles an hour, a dummy would have 
done as well. She went to the hospital 
for four months with a shoulder, collar- 
bone and every rib on her right side 
broken. 

With such a background of excite- 
ment and action, it was surprising to 
find her reserved and unassuming. In- 
tensely emotional, she has deep spiritual 
feeling. 

After years of fame and success 
Helen Holmes is no longer active in 
pictures. Her infrequent visits to 
Hollywood are unheralded, known to 
only her closest friends. Perhaps some- 
thing of her pioneer ancestry — those 
gallant souls who rounded the Horn and 
crossed the plains and fought in the 
wars, makes her happy on the ranch 
which is now her home. 



The New Movie Magazine 



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105 




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HomeTown Storiesof Amos'n'Andy 

The Story of Amos (Freeman Gosden) 




"Snowball" Garrett Brown, the inspira- 
tion of the character of Amos, as created 
by Freeman Gosden. If Snowball hadn't 
been adopted into the Gosden house- 
hold, Amos might never have existed. 
Whaf would have happened to Andy? 

was next oldest of the family and then 
a brother, sixteen years Freeman's 
senior. At this period a young negro 
was bereft of his parents and was 
adopted into the Gosden household to 
run errands and do general chores 
about the place. Immediately he be- 
came known as "Snowball." The two 
boys, of the same age, became almost 
inseparable companions. 

THE Gosden family then lived on 
"Navy Hill," at 711% East Mar- 
shall Street, now the centre of Rich- 
mond's theatrical district. W. W. 
Gosden, the head of the family, was 
one of "Mosby's men," the famous 
Confederate organization that refused 
to surrender in '65 and which fought its 
last battle on the day after Appomat- 
tox. The father and mother were strict 
disciplinarians and devoutly religious. 
All the family attended the Second 
Presbyterian Church, of which the Rev. 
Cecil Russell, D.D., was then pastor. 
"Snowball" was permitted to choose his 
own church, but the family required 
him to attend service regularly. 

Life in the Gosden household was of 
more or less the same routine. 
"Curley" got his early education at the 
Ruffner School, just five blocks from 
his home, and his companion attended 
a negro school near by. Just as sure as 
the sun set each day both boys knew 
they had to recite their lessons at the 
knee of the head of the house or take 
the consequences. For two years this 
task was Mr. Gosden's and, at his death, 
when Freeman was twelve years of age, 
Mrs. Gosden took over the job. Mrs. 
Gosden was as strict as her husband, 
and "Snowball" says, "sometimes we 
learned our lessons standing up" after 
failing to recite them correctly the first 
time. 

As a boy, Freeman Gosden was not 
athletically inclined. He d : d indulge in 
baseball, football and other sandlot 

106 



(Continued from page 24) 

pastimes, but his preference was danc- 
ing. At twelve he joined the 
Y. M. C. A. and learned to swim and 
often played handball. Like the char- 
acter he now portrays, "Curley" became 
very industrious in school. 

Meantime, "Snowball" branched out 
as a pugilist. Often he would take on 
other negro boys of his own size at box- 
ing carnivals that were staged at the 
time in the basement of many resi- 
dences throughout the city. Unlike the 
legalized affairs of the present day, 
these contests were "to a finish, win- 
ner take all." The purses were con- 
tributed by the onlookers and often 
they were large. Of the outcome of the 
bouts, "Snowball" says: "We always 
had money." 

"Curley," of course, did not partici- 
pate in any of these affairs, but was 
always present when his companion 
was on the card. Sometimes, however, 
Freeman got a beating as a result of 
these bouts. Whenever the negro re- 
turned home with any marks of battle, 
it was taken for granted around the 
Gosden home that "Curley" knew the 
why and was not far away at the time 
they were administered. Needless to 
say, marks of disapproval were also 
registered on "Snowball." 

DAY by day Gosden grew more 
studious, until one of the boys 
called him "teacher's pet." That taunt 
started things. Freeman and his tor- 
mentor met at a school social and the 
bully became so unruly "Curley" pro- 
ceeded to "put him in place with his 
dukes," classmates say. And the best 
of it was, he got away with it. Like 
his kind, the bully was unable to take 
his beating as a sportsman, but im- 
mediately reported to the teacher: 
"Freeman Gosden hit me." 

"Incredible! I don't believe it," was 
the bully's only consolation. 

At another time, however, "Curley" 
did not get off so well. He and "Snow- 
ball" and some others of the gang were 
walking along the street one day when 
the darky got the notion that Free- 
man's head offered an irresistible target 
for a lime he had in his pocket. "Snow- 
ball's" aim was good and the lime found 
its mark. Then began Freeman's sec- 
ond recorded fight. For many minutes 
the two youngsters lambasted away at 
each other, and "Snowball" says when 
both were too tired to continue any 
longer the best he could give himself 
was a draw. 

That was the only difference between 
"Curley" and his playmate, and their 
friendship grew with the years. After 
ten years in the Gosden home, the 
negro and a companion went North to 
make their fortunes. But even then 
he found himself st'll under the Gosden 
influence, and an indication of the es- 
teem in which he was held may be 
gleaned from the regularity with which 
the family wrote him urging him to 
"be a good boy and don't get in any 
trouble." 

Then came the World War. "Curley" 
enlisted in the Navy and Garrett indi- 
cated he preferred terra firma by join- 
ing the Army. It was not a case of 
beating the draft with Gosden, for less 



than a month after Uncle Sam joined 
the allied forces found him aboard The 
U. S. S. Montgomery. His first act 
after signing up was to notify his old 
playmate. 

"Dear Snow," he wrote Garrett at 
Roseton, N. Y., on May 2, 1917, "I leave 
for the Navy at 12 o'clock today. 
Sorry I could not see you. Will let you 
hear from me. Best wishes, Freeman." 

"Snowball" spent the next eighteen 
months in the Army. 

GROWN into a sturdy youth, Free- 
man Gosden returned from the 
war well versed in seamanship and 
radio-telegraphy but with a hankering 
for the stage. His mother and sister 
had been killed in an automobile acci- 
dent while he was away, and W. W. 
Gosden, Jr., the brother who assumed 
the head of the household at the father's 
death, had married. Another brother, 
Harry, was in the West. Freeman got 
a job in a drugstore, then went with a 
Richmond shoe manufacturing concern 
as shipping clerk. A few months later 
found him in the tobacco business and 
then with an automobile sales agency. 
None of these appealed to him. 

Freeman Gosden just could not get 
the stage out of his head. "Curley" 
had appeared on the stage twice as 
a boy, once at ten years of age in an 
amateur diving act staged by Annette 
Kellermann in which he won a prize. 
His first real experience, however, was 
as a dancer with a "semi-pro" outfit. 
This was soon after his return from 
the war. The company, composed of 
"Slim" O'Neill, "Nubby" Brauer, 
Johnny Kohler, "Sugarfoot" Drinard 
and Gosden, staged shows in and 
around Richmond. They had a dilapi- 
dated automobile in which they trav- 
elled, and often had to "make-up" be- 
fore leaving home as the barns and 
stables in which the production was 
sometimes staged did not afford fa- 
cilities. Gosden, O'Neill, and Drinard 
were dancers, and the others were 
singers and blackface men. 

Then came the break that eventually 
led "Curley" Gosden to important con- 
tracts, big money, and urgent engage- 
ments. The Joe Bren outfit was stag- 
ing an amateur production in Richmond 
under the auspices of an Elk lodge. 
Charlie Correll was at the head of the 
outfit that was training the amateurs 
and he needed assistance. None was to 
be had from the home office. Before 
Correll left Richmond he met Gosden. 
He wired Bren of his discovery and 
was told to give "Curley" a try out. 
The home-town boy made good and a 
fast friendship grew up between the 
two directors. 

THE rest you know. With the ad- 
vent of the radio, the amateur show 
game passed on. One day the Edge- 
water Beach Hotel radio station in 
Chicago needed talent. The manage: - 
met Joe Bren. Bren suggested that 
Correll and Gosden be given a tryout. 
They put on a singing act. Scared 
green at the silent audience, Correll 
could hardly play the piano and Gosden 
thought his vocal chords were not func- 
(Continued on page 111) 






The New Movie Magazine 




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107 



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The New Movie Magazine 




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It seems so silly to me. Do you un- 
derstand me?" 

"Yes," I said, "but please go ahead." 
"I just believe that right down un- 
derneath all women are looking for 
the kind of happiness I've had. A fine 
man who loves and cares for you, in 
return for what you do for him, a 
home, and splendid children. That's 
real happiness — not what you young- 
sters would call synthetic happiness, 
like night clubs and jobs and those 
things. 

"A woman has to have a man to 
love. It's nature. I've seen women 
who made excitement pass among their 
friends for happiness, but in their 
lonely hours they cried plenty of tears. 
Other things are pretty futile, espe- 
cially as you get older. No woman's 
life is full unless she has one man to 
love and to love her. And she can 
always have it if she works at it, and 
makes a good home and pleases her 
husband, as we were told to do from 
the beginning." 

DO you think it's impossible for 
Buddy to find the girl he wants 
— a girl like you must have been?" 

"Oh, no," she said, vehemently, "I 
know it isn't. The girls today are 
coming to see that fundamentals, as 
my husband says, don't change. 
They've tried this other thing, this 
freedom and equality, and now they're 
getting normal once more. I was just 
a normal girl. That's all Buddy 
wants. They're different, as their 
clothes are different, they ride in auto- 
mobiles instead of buggies, but they're 
real underneath. A girl in love natur- 
ally has the wisdom of the ages. When 
real happiness comes she'll recognize 
it, I'm sure, and be willing to do all 
the big share a girl must do to keep 
it. I hope he'll find her soon. I'd like 
some little grandchildren and so would 



my husband. We both love children." 

"You think your method would work 
with Buddy?" 

"Of course it would. Buddy's just 
like his father, I'm glad to say." 

I felt that I had snooped all I needed 
on that side of the family, and learn- 
ing that Buddy's father was out in the 
■garage looking at a new car, I decided 
to go a bit further and see if he agreed 
with the things Mrs. Rogers had said. 

Bert Rogers, after nine years of 
school teaching, bought a newspaper in 
Olathe and was editor and business 
manager of that until he retired and 
moved to Hollywood a few months ago. 
He can think and has proved it. He's 
been successful, both with his business 
and his family. 

"Your wife tells me that she has 
spent about twenty-five years of her 
life trying to please you," I said. 

"She's done it," he answered. 

"How?" 

"Dozens of ways. Which ones do 
you want?" His newspaper training 
provoked that last. He knows an in- 
terview when he sees one. 

"Any of them," I said. "Preferably 
some old ones." 

"Well, she knows when to keep quiet 
even when it is hard for her to do so. 
I remember one time I came home from 
the school. Things had gone wrong all 
day. I had heard nothing but chatter 
since eight o'clock in the morning. 
When I got home I said 'Hello!' and 
that was about all. 

"Now I know some women who 
would get on their ear and ask you if 
you did not love them any more when 
you greeted them like that. But Mrs. 
Rogers did not. She kept quiet, know- 
ing I was tired. After dinner, when 
an hour's peace had made the world 
look brighter to me, I found out that 
she had been bursting to tell me some 
news she picked up during the day. It 




Address 

108 



Constance Bennett in an intimate scene of Warner Brothers' Jhree Faces 

East." This gives you a vivid idea of the way such a scene is made, amid 

a battery of directors, assistants, electricians, cameras and lights. If you 

think acting is easy, try this. 



The New Movie Magazine 



was pleasant to hear — then. It would 
not have been when I first came home. 
That what you wanted?" 
"One of them. Any more?" 

PLENTY. Another thing sticks out 
because it meant a real hardship 
for her to do it. Every Satur- 
day she used to cook up a big picnic 
dinner and come into the newspaper 
office with the kids. That was to help 
me, because we lived about an hour out 
of town and it would have been hard 
for me to go home and back to the of- 
fice afterwards. I had to be there be- 
cause Saturday nights all the farmers 
came to town. It meant news and 
business." 

"Have you ever tried to please her?" 

"Of course. Who doesn't try to 
please the woman he loves?" 

"How did you please her?" I was 
determined to get this or die in the 
attempt. 

"Oh, I dunno. Doing things for her, 
things she wanted me to do. I remem- 
ber thinking one Saturday night as we 
drove home from the office that a hard- 
riding, iron-tired buggy was not good 
enough for a woman who loved me as 
much as she did — and proved it by 
doing so many things for me that I 
wanted her to do. So I scrimped a bit 
here and there on my personal things, 
did some extra work, and bought her 
about the first rubber-tired promenade 
buggy we ever had in Olathe. It was 
a classy one and she got a big kick 
out of it. Want any more illustra- 
tions?" 

"Yes." 

He gave them to me. A dozen or 
more. They all pointed the same way. 
Mrs. Rogers tried to make him happy — 
and did. Being grateful, he did his 
best to make her happy by giving her 
what she wanted. She met his moods, 
he met her desires. 

ON the way home I did some think- 
ing. Ruth M. Carter, of Middle- 
boro, Massachusetts, must have been 
correct. 

Buddy said he wanted a girl who 
was reasonably good looking. His 
mother most certainly is that. She 
most surely has the sense of humor 
he demanded. She does not wear 
make-up to any extent and, from what 
Mr. Rogers said, I don't think she ever 
did. Which fits in with Buddy's idea. 
She, if only by the illustration of Bert 
Rogers going home tired and getting 
what he wanted, is a good listener and 
sympathizer. She has never shown 
Bert Rogers a jealous outbreak, al- 
though she told me that, in common 
with all women, she had one. 

IN other words, Buddy Rogers has 
been brought up in a happy home. 
Twenty-four years in that atmosphere 
have impressed certain things ■ — per- 
haps subconsciously — upon his mind. 
Things which, in those twenty-four 
years, have been proven right. 

Buddy Rogers asks no more from 
the girl he will eventually marry than 
his father has received for a quarter 
of a century from the girl he loved and 
married. 

Buddy's mother says that is not too 
much to ask. She says further that if 
the girl he marries will give those 
things to him, make him happy, Buddy 
in turn will make her happy. Even as 
Buddy's father has made her happy all 
these years. 

I thank you, Ruth Carter. It was a 
good thought. 





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109 



The New Movie Magazine 




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Home Town Stories of 
Amos V Andy 

The Story of Andy (Charles Correl!) 

{Continued from, page 25) 



during his last two years of school. 
Throughout his school years, he dis- 
played an interest in drama and rarely 
a stock company passed thru town, 
without Charlie's having seen it. 

Many of the veteran theatrical en- 
thusiasts will remember Mr. Churchill, 
father of Marguerite Churchill, the 
screen star, who incidentally is also a 
former Peorian. Mr. Churchill, owner 
of a chain of theaters in the United 
States and South America, operated the 
Main Street Theater, where Charlie 
was employed as an usher. 

Now Mr. Churchill had ample grounds 
for complaint when he called Charlie 
on the carpet one day. It seems that 
Charlie was spending altogether too 
much time backstage, conversing with 
the actors. The encouragement and 
inducement he was given by the show 
people, however, are partly responsible 
for his not being a bricklayer, instead 
of an actor under contract, and radio 
star. 

BEN BUTLER, former fire chief of 
Peoria, took an interest in young 
Correll and one day, while the lad was 
yet in high school, he arranged a 
minstrel show and gave Charlie a part. 
The same slow lazy drawl, that is so 
well known today, seemed to destine his 
future and blackface negro impersona- 
tions became his lot. Mr. Butler, who 
had played in minstrel shows for years 
as a young man, shaped the raw Correll 
into a finished minstrel actor and 
Charlie's present career found its in- 
ception. 

While all this was good fun, it failed 
to bring home the bread and butter, so 
Charlie capitalized on his musical tal- 
ent and accepted a position as piano 
and organ player in the Columbia 
"nickelodeon" in Peoria. Synchronized 



music, of course, didn't come until 
years later so Charlie had to keep an 
eye on the screen to render the proper 
atmosphere. 

About the same time young Correll 
learned newspaper work from the mail- 
room angle. His job was to slip the 
papers off the conveyor where they 
were given to the newsboys or sacked 
for delivery. He held this position at 
both newspaper offices. Many of his 
former companions are still employed 
by the newspapers. 

Charles Malm, Journal-Transcript 
pressroom superintendent and close 
friend of Mr. Correll's while he was 
employed by the paper, is an enthusias- 
tic follower of Amos 'n' Andy on the 
air and is eager to see their new R K 
movie, "Check and Double Check," 
which they are under contract to make. 

Mr. Malm is confident Mr. Correll 
will be a bigger hit in the talkies than 
over the radio. "The boy is a born 
actor," Mr. Malm says. 

Young Correll had a habit of trying 
to "get Mr. Malm's goat," as the 
phrase has it and succeeded rather 
well at times. When, occasionally, Mr. 
Malm would unearth the hatchet, young 
Correll would regard him solemnly and 
pipe up in his deep voice, "Now you 
ain'ta gonna be mad at me, are you, 
pal?" These words didn't always have 
the desired effect and on several occa- 
sions Correll was obliged to retire at 
top speed to the haunts of the mail 
room. 

Because the elder Correll was a brick 
mason contractor and brother Joe fol- 
lowed in his father's footsteps, it was 
only natural that Charlie would be a 
bricklayer too. He worked at the 
brick-mason trade, but never lost in- 
terest in plays and public appearances. 

Work in Peoria became slack, so 







The birthplace of Andy, otherwise Charles Correll, at Peoria. The address is 

No. 713 Hancock Street. A sister, now Mrs. Alice Roszell, who. still resides in 

Peoria, was also born in this house. 



110 



The New Movie Magazine 



Charlie went to Springfield, where 
he helped to build the Superior Court 
building, under the supervision of 
State Architect Jim Cole. His work 
carried him around different places in 
the state, principally Rock Island. 
Charlie didn't object to laying bricks 
for a living, but the urge of the stage 
stayed with him. 

Whenever the Rotary club, Elks or 
any other group sponsored entertain- 
ment, Charlie was always near by ready 
to take part, whether there was any 
pay involved or not. One day, while 
doing a song and dance in a home talent 
production, a certain gentleman noted 
his work with approval. Charlie didn't 
see him and wouldn't have known him 
if he had, but that person was Joe 
Bren, owner of the Joe Bren Produc- 
tion Company of Chicago. 

WHY not join up with the com- 
pany?" Mr. Bren urged, but 
Charlie didn't need any urging. "Just 
give me the chance," he breathed and 
there we have the first step in Mr. Cor- 
rell's rise from newsboy to radio star. 
Charlie was hot on the piano and clever 
with his feet, but Joe Bren, an expert 
in his business, saw the greater possi- 
bilities in the blackface. Joe decided, 
Charlie agreed, and from then on 
Charlie appeared in blackface. He 
didn't chuck the song and dance, but 
used them in the other acts. An actor 
in the Joe Bren company played many 
roles, as Charlie soon learned. 

The troupe criss-crossed the country, 
as their engagements were scattered. 
During an engagement at Richmond, 
Va., Charlie met Freeman Gosden, and 
the inimitable radio team had its origin. 
The sledding wasn't smooth, from the 
start, and the boys worked together 
with the company a long while before 
they became really famous. 

Two years ago grief came to the Cor- 
rell family, with the death of Charles' 
mother. 

Charlie is such a busy man that he 
doesn't visit Peoria more than once or 
twice a year. When he does drop down 
from Chicago, he is greeted by 
"Tommy," his youngest brother, who is 
athletic coach at Averyville High 
School, located in a Peoria suburb; his 
father, brother Joe, and sister, Mrs. 
Alice Roszell, all of Peoria. 



HomeTown Stories 
of Amos 'n' Andy 

The Story of Amos 

(Continued from page 106) 

tioning as they should. However, the 
act "got over" and the boys were 
thanked. 

. Later they were offered time each 
week on another Chicago station. The 
pay was exactly nothing. They went 
on occasionally, and then got their 
break as "Sam and Henry." From then 
on their paths were strewn with roses. 
"Sam and Henry" grew into "Amos 'n' 
Andy" and "Amos V Andy" grew into 
the most expensive feature on the air. 
But with all his success, "Curley" 
Gosden has not forgotten "Snowball" 
and the home-town folks. Frequently 
in his dialogues, he refers to some old 
and fast friend in Richmond, and reg- 
ularly does he write the companion of 
his boyhood. Just recently he sent him 
an autographed copy of the book, 
"Amos 'n' Andy." 




What kind 



4 hall I take ? ? 



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"But when I think of all the sleepy, 
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evenings spoiled by being inexcusably 
tired; and the nights I've been too 
excited or nervous to sleep ! And then 
to learn (among lots of other things) 
that the right kind of baths probably 



would have saved many of those 
precious hours . . . well! ... I can't 
tell you how sorry I am this little book 
wasn't published a long time ago". 

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certain, when you get 
your free copy of "The 
Book About Baths" 
So use the coupon. 




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CLEANLINESS INSTITUTE, Dept. T-3 
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Name.... 
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ill 



The New Movie Magazine 




Where is Anna Q? 



(Continued from page 27) 



$1500 for Pearls 

but only 
10c for Her Rouge 

Looped around her lovely neck is a strand of 
matched pearls that adorn her beauty with 
their cool, restless fires. They are worth a king's 
ransom. She is a woman of wealth and of dis- 
criminating taste. Yet . .. she pays only 10c for 
her rouge. To her cheeks it brings just the right 
tone. ..an alluring,harmonious shade that never 
varies. Its texture is cobwebby and it is so 
pure that it cannot harm the most delicate skin. 
Her rouge is Heather Rouge. 

This rouge that has been popular for 25 
years is sold by all 5 and 10-cent stores. From 
among its numerous shades select the tint 
that flatters your type of beauty. If you want 
the loveliest complexion use it faithfully. 

GUARANTEED ABSOLUTELY PURE 

HEATHER 

10c NATURAL 

everywhere; l«f f J I |i "iSr™ 

(15c in Canada) |\^^# ^J ^J Lar 

Other famous Heather Cosmetics of fine quality and low 
price are : Lip Stick . . . Cosmetiko, a mascara . . . Eyebrow 
Pencil . . . Eye Shadow . . . Powder Compacts . . . Puffs. 



quiet sanctuary men have gained new- 
courage to go on with the fight. No 
one, I think, can look upon Anna Q. 
lying there smiling, after all she has 
been through in the last few years, and 
not go away with a determination not 
to seek softer ways but to measure up 
to the hardest tests life gives. 

THE room is bright with flowers 
every day and Anna Q. loves the 
color and the grace of each one of 
them. There are new books and maga- 
zines scattered about. A radio brings 
to her the new tunes from George 
Olsen's, and the news of the world, and 
the reports of contests and gay happen- 
ings. Every gallant effort that she could 
think of, Anna Q. has ordered, to make 
her prison homelike. 

Brilliant dressing-gowns cover her 
shoulders. Her old hairdresser makes 
the trip twice a week after hours to 
keep the pretty blonde hair curled and 
shining. Her fair skin is powdered 
and her lipstick hasn't rusted. 

Perhaps those things sound easy, 
helpful, alleviating. So they are. But 
they have been done at the cost of such 
effort, with the need of such sheer grit 
to carry them through, that one won- 
ders if one would have been able to do 
likewise. 

For from her ankles to her waist, 
Anna Q's. splendid young body has for 
many long months been held by a 
heavy plaster cast. An instrument of 
torture, the doctors tell me, which in 
spite of all they can do is almost as bad 
as a strait-jacket. When she reads, 
the book is placed on a small stand in 
front of her. Somehow, she has forced 
herself during the weary days to keep 
up, to keep her mind active, to be in- 
terested and happy, when almost any 
other woman would gladly have given 
in to the pain and weariness and mo- 
notony. 

When you go to see Anna Q. it is 
a rare visit. You don't come away 
feeling depressed and irritated with 
questions about the unfairness of life. 
She doesn't let you. Never once has 
anyone heard Anna Q. cry out. Never 
once has she weakened. There isn't 
in her manner a tone or a look that re- 
minds you of how much she has suf- 
fered. Not a trace of irritability. 
No hopelessness, because she is so 
long in getting well. No worry or fear 
as to the ultimate outcome of the oper- 
ation — a very serious one — which the 
doctors hope will some day soon allow 
her to walk again. 

Of course, when you go in you ask 
how she is and how she's getting along. 
She says, "Fine, darling. Everything 
is going along splendidly. I'm so 
happy about it. Do tell me all about 
Bebe's wedding. She was in last night 
and I never saw anyone look so radi- 
ant. If ever a girl deserved to be 
happy, she does." 

So you talk, for hours. She tells you 
what her other visitors have told her — 
funny stories, a bit of harmless scan- 
dal. New books are discussed. New 
pictures. The arrival from New York 
of this stage star and that. The in- 
creased ego of an over-night success. 
The kindliness of some old friend. 



ER appreciation of every little 
thing which is done, of thoughtful 
gifts and remembrances, of visits from 



H 



busy folk in the film colony, is sweet 
and spontaneous. She is amazed that 
everyone remembers her and that so 
many of her more casual friends love 
to come to visit her. 

I am not amazed. It isn't a duty to 
visit Anna Q. Its a privilege. 

Almost three years ago, the foolish 
accident happened which was to have 
such disastrous consequences. On lo- 
cation up in the mountains, Anna Q. — 
a splendid horsewoman — went for a 
ride. Coming down a narrow moun- 
tain trail, the horse shied suddenly at 
a snake and threw her, and in a panic 
trampled on her hip and leg. 

"What I told that horse in Swedish!" 
said Anna Q. 

The hip was broken badly, it was 
four days before they finally got her to 
a hospital in Los Angeles for proper 
treatment — and the fracture had 
grown so bad that it has never knit 
properly. Now the great surgeons of 
the West have operated, re-set the 
bones, and are keeping her in the cast 
until they find out whether it will 
finally join properly — or not. 

Three years of hospitals, of break- 
ing and re-breaking, of heavy steel 
braces. Three years since Anna Q. — 
who had always been so active, so full 
of life and movement, has taken a step 
without crutches or a cane. Three 
years since she began the long fight. 

WHEN the thing happened, Anna 
Q. Nilsson was one of the most 
popular actresses on the screen. She 
loved her work passionately. She loved 
life — in all its phases. There had al- 
ways been a vivid, vital robustness 
about Anna Q. Dancing, swimming, 
tennis, riding — all these things were 
necessary to her. Now, for three 
years, in the very prime of her young 
womanhood, she has been held pris- 
oner. 

During the first weary weeks she 
fought the thing out alone. In a ter- 
rible loneliness. Hollywood is so busy. 
No one realized what had happened. 
They expected to see her up and about 
any day. Because she was out of the 
swim, momentarily she was forgotten. 

It hurt. But it brought no bitter- 
ness. Anna Q. understood. 

"Everyone is so busy," she said. "I 
know how it is. I've been just the 
same myself." 

But it is very different now. Holly- 
wood woke up. Once they understood 
what Anna Q. was facing, they rushed 
to her side. And she took them back 
gratefully, happily, without one word 
or look of recrimination for their de- 
sertion. 

Last summer, Anna Q. lived in her 
little house at Malibu Beach. After 
much treatment and many consulta- 
tions, it had been conceded that the 
hip was not mending. The doctors de- 
termined to try a summer of sunshine 
and diet, to build up her general health 
for the dangerous operation which 
must be performed. 

There must have been despair in 
Anna Q's. heart. The time had been 
so long. The anguish of hope, dis- 
appointment, renewed hope, new de- 
lays, must have worn upon her. To 
move slowly and with pain where once 
she had run like a Viking maiden. To 
look continually upon a future in which 
she might never walk again. 



112 



The New Movie Magazine 



Yet I don't think any of us ever 
spent happier week-ends than when we 
were fortunate enough to have Anna 
Q. ask us down to Malibu from Friday 
to Monday. If there were shadows, 
they never came from Anna Q. The 
shadows came from our own realiza- 
tion. Sometimes I used to sit and look 
at her in sheer amazement. How 
could any woman carrying that bur- 
den, facing the uncertainty, be so 
strongly cheerful, so consistently gay? 

A FEW days after Christmas — it 
was characteristic that she waited 
until Christmas cheer was over to tell 
us— she said that she was going to the 
hospital that week. 

She told only a few close friends, 
didn't want it in the paper. 

"I don't want anyone to worry or be 
unhappy" she said. 

But news travels fast in Hollywood. 

If ever the motion picture colony 
has prayed, it prayed for Anna Q. in 
that journey into the. valley of the 
shadow. Before the altar of the Blessed 
Virgin many a candle sent up its plea 
to the Mother who comforts. In the 
stately little Church of Christ, Scientist, 
in Beverly Hills, many a famous star 
listened to the encouraging word of the 
lesson-sermon and sent thoughts of 
faith to Anna Q. And those who went 
to no church, prayed in that fashion 
which comes to every human heart in 
time of need — in everyday words made 
beautiful by the love that gilded them. 

Then word came that all was well. 
Now began that period of waiting. 
Anna Q. had been waiting five months. 
Without one word of complaint, with- 
out one protest — with that strong smile. 

DIRECTORS have told Anna Q. that 
just as soon as she is well there 
will be parts waiting for her. If, when 
the cast is taken off, Anna Q. can walk, 
we shall once more see her on the 
screen. 

But I cannot help hoping that she 
knows what she has meant to all of us 
in these last years. Whatever she has 
endured, it may be some small compen- 
sation to realize how much of beauty 
she has brought to others. 

It can't make up to her for these 
years out of her life, but it can help 
a little if she understands that her 
courage, her laughter that has taken 
the place of tears, her never-failing 
interest, her splendid faith that all 
will, in the end, be well, have been 
written in immortal memories upon 
many sad and burdened hearts in this 
"hard, fast race," which is Hollywood. 

"Trained upon pain and punishment, 
I've groped my way through the night, 
But the flag still flies from my battle 

tent 
And I've only begun to fight." 

Whatever the answer to our waiting, 
that flag will always fly. And the sight 
of it upon gray days will strengthen 
many a weary traveler to carry on to 
their goal. 

How dare we fail to give our best if 
Anna Q.'s weary, smiling, courageous 
eyes are upon us? 

Whether she comes back as a star or 
not, whether she walks again as of 
yore or whether the break goes against 
her, these years have made of Anna Q. 
Nilsson a great woman. And the fight 
of life — the fight to be strong, cour- 
ageous, fine — has been won and will 
continue to be won through the days 
that lie ahead. 



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